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"I could almost imagine," said Vaura, "you all to be mistaken for the Croizette has immense influence at the Conservatory, where they both studied, and is a complete child of the stage, but if your ears have played you no tricks, if I mistake not, Sara has had her fun." "Not a doubt of it," said Bertram.
Surrounded by a court of adorers of both sexes, I lived in a sunny dream. All the royal personages and the notabilities who were the guests of France during the Exhibition of 1878 came to see me. This was a constant source of pleasure to me. The Comedie was the first theatre to which all these illustrious visitors went, and Croizette and I played nearly every evening.
And she ran off, sobbing, into the little guignol, where she had an attack of hysteria. I followed her and consoled her as well as I could. And in the midst of her tears she kissed me, murmuring, "It is true. It is they who instigated me to play this nasty trick, and now they are annoying me." Croizette used vulgar expressions, very vulgar ones, and at times uttered many a Gallic joke.
Croizette and I had been appointed Societaires with one entire share in the profits each, not only for London, but for always. Everybody had done their duty. Perrin, very much touched, took both my hands and drew me to him. "Oh, the good and untamable little creature!" We embraced, and peace was again concluded between us.
I stayed at the convent another ten months without learning anything more. The idea of becoming a nun always haunted me, but I was no longer mystic. My godfather looked upon me as the greatest dunce of a child, I worked, though, during the holidays, and I used to have lessons with Sophie Croizette, who lived near to our country house.
The first, the most fierce, and the definitive battle was fought over the moon. We had begun the full dress rehearsals. In the third act the scene was laid in a forest glade. The glade was bathed in moonlight. Croizette had just played her part, and her kiss had been greeted with a burst of applause. This was rather daring in those days for the Comedie Francaise.
Pauline Croizette was beautiful, but I liked Sophie better she was more gracious and pretty. Madame Croizette, their mother, always seemed sad and resigned. She had given up her career very early. She had been a dancer at the opera in St. Petersburg, and had been very much adored and flattered and spoiled. I fancy it was the birth of Sophie that had compelled her to leave the stage.
She always obtained everything she wanted, and as Sophie Croizette was frank and straightforward, she often said to me when I was grumbling, "Do as I do; be more yielding. You pass your time in rebelling; I appear to be doing everything that Perrin wants me to do, but in reality I make him do all I want him to. Try the same thing." I accordingly screwed up my courage and went up to see Perrin.
Perrin, who thought that the victims attracted pity, and that it was for this reason I pleased my audiences, cast the play most ridiculously: he gave me the role of Dalila, the swarthy, wicked, and ferocious princess, and to Sophie Croizette he gave the role of the fair young dying girl. The piece, with this strange cast, was destined to fail.
It seemed to Lesbia, when she had heard all, that Croizette was a much-to-be-envied person. Mr. Smithson had unpublished bon-mots of Dumas at his finger ends; he knew Daudet, and Sarcey, and Sardou, and seemed to be thoroughly at home in Parisian artistic society. Lesbia began to think that he would hardly be so despicable a person as she had at first supposed.
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