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Still, but for Claudine's caprices, du Bruel would be de Cursy still, one vaudevillist among five hundred; whereas he is in the House of Peers." "You will change the names, I hope!" said Nathan, addressing Mme. de la Baudraye. "I should think so! I have only set names to the masks for you. My dear Nathan," she added in the poet's ear, "I know another case on which the wife takes du Bruel's place."
"'People made a good deal of fun of Cursy, said she; 'but, as a matter of fact, he found this house in the eighteenth century rouge-box, powder, puffs, and spangles. He would never have thought of it but for me, she added, burying herself in the cushions in her fireside corner. "She delivered herself thus on her return from a first night.
Like many of his brethren, he bore a stage dancer an affection hard to explain, but well known in the whole world of letters. The woman, as you know, was Tullia, one of the premiers sujets of the Academie Royale de Musique. Tullia is merely a pseudonym like du Bruel's name of de Cursy. "For the ten years between 1817 and 1827 Tullia was in her glory on the heights of the stage of the Opera.
He therefore treated the youth almost paternally; often endeavoured to get him some fee from the Council, or paid it from his own pocket. He overwhelmed Sebastien with work, trained him, and allowed him to do the work of du Bruel's place, for which that vaudevillist, otherwise known as Cursy, paid him three hundred francs out of his salary.
The clamor increased. Words were no longer distinct, glasses flew in pieces, senseless peals of laughter broke out. Cursy snatched up a horn and struck up a flourish on it. It acted like a signal given by the devil. Yells, hisses, songs, cries, and groans went up from the maddened crew.
"The piece which we have the honor of playing for you this evening, gentlemen, is the work of MM. Raoul and de Cursy." "Why, Nathan is partly responsible," said Lousteau. "I don't wonder that he looked in." "Coralie! Coralie!" shouted the enraptured house. "Florine, too!" roared a voice of thunder from the opposite box, and other voices took up the cry, "Florine and Coralie!"
The Marquise, too thoughtful now for laughter, bade Nathan "Go on," in a tone that told him plainly how deeply she had been impressed by these strange things, and even more plainly how much she was interested in La Palferine. "In 1829, one of the most influential, steady, and clever of dramatic writers was du Bruel. His real name is unknown to the public, on the play-bills he is de Cursy.
The day when the bed-spread was torn to tatters marked a new epoch in her married life. "Cursy was remarkable for his ferocious industry. Nobody suspects the source to which Paris owes the patch-and-powder eighteenth century vaudevilles that flooded the stage. Those thousand-and-one vaudevilles, which raised such an outcry among the feuilletonistes, were written at Mme. du Bruel's express desire.
What machinery do they set in motion? But, however comical such domestic dramas may be, we are not now concerned with them. Du Bruel was secretly married; the thing was done. "Cursy before his marriage was supposed to be a jolly companion; now and again he stayed out all night, and to some extent led the life of a Bohemian; he would unbend at a supper-party.
"Oh! oh!" cried Cursy, the vaudevilliste; "in that case, gentlemen, here's to Charles X., the father of liberty." "Why not?" asked Emile. "When law becomes despotic, morals are relaxed, and vice versa. "Let us drink to the imbecility of authority, which gives us such an authority over imbeciles!" said the good banker.
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