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The Queen being at the Opera with the Emperor, the latter did not wish to show himself; but she took him by the hand, and gently drew him to the front of the box. This kind of presentation to the public was most warmly received. The performance was "Iphigenia in Aulis," and for the second time the chorus, "Chantons, celebrons notre Reine!" was called for with universal plaudits.
At one stage of the representation, Iphigenia is led in triumph through the Greek camp, while a chorus of Thessalians sing "Que d'attraits que de majeste; Que de graces l que de beaute! Chantons, celebrons notre reine!" The audience took the cue and transformed themselves into actors. Every eye and every head turned to the royal box, and for the sea and time every hand was raised to applaud.
The Queen being at the Opera with the Emperor, the latter did not wish to show himself; but she took him by the hand, and gently drew him to the front of the box. This kind of presentation to the public was most warmly received. The performance was "Iphigenia in Aulis," and for the second time the chorus, "Chantons, celebrons notre Reine!" was called for with universal plaudits.
They were then giving in the great opera-house Gluck's "Alceste," the favorite opera of the queen the opera in which a few years before she had received so splendid a triumph; in which the public loudly encored, "Chantons, celebrons notre reine!" which the choir had sung upon the stage, and, standing with faces turned toward the royal box, had mingled their voices with those of the singers, and repeated in a general chorus, "Chantons, celebrons notre reine!"
"Chantons, célébrons notre reine, L'hymen, que sous ses lois l'enchaîne, Va nous rendre
And in the boxes, parquette, everywhere was the cry, "Sing the chorus, 'Chantons, celebrons notre reine!" "No," roared Santerre, "no, they shall not sing that!" "No," cried Simon, "we will not hear the monkey-song!" And hundreds of men in the parterre and the upper rows of boxes echoed the cry, "No, we will not hear the monkey-song!" "The thing works well!" said Marat.
The Queen being at the Opera with the Emperor, the latter did not wish to show himself; but she took him by the hand, and gently drew him to the front of the box. This kind of presentation to the public was most warmly received. The performance was "Iphigenia in Aulis," and for the second time the chorus, "Chantons, celebrons notre Reine!" was called for with universal plaudits.
At once they began to cry, "The chorus, the chorus, let them sing, 'Chantons, celebrons notre reine!" "Very well," said Marat. "I am a good royalist, for I have trained the people to the cry." "Sing, sing!" shouted the men to the performers on the stage "sing the chorus, 'Chantons, celebrons notre reine!"
This time, every occupant of the imperial box rose to return acknowledgments, and the audience began for the fourth time, "Chantons, celebrons notre reine!" The queen was so overcome, that she could no longer restrain her tears. She tried to incline her head, but her emotion overpowered her, and covering her face with her handkerchief, she leaned upon the shoulder of her brother, and wept.
And this is curious, considering the general colour of the dress of a century in which, as Baudelaire says, 'Nous celebrons tous quelque enterrement. The archaeologist of the future will probably point to this age as the time when the beauty of black was understood; but I hardly think that, as regards stage-mounting or house decoration, it really is.
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