PLEASURE, LOVE, PLAY. The mission of these symbolical beings was, by means of jokes, sarcasms, and mockeries, to plague the life out of Goodman Cholera, a sort of funeral and burlesque Cassander, whom they ridiculed and made game of in a hundred ways. The moral of the play was this: 'To brave Cholera in security, let us drink, laugh, game, and make love!'
WINE was represented by a huge, lusty Silenus, thick-set, and with swollen paunch, a crown of ivy on his brow, a panther's skin across his shoulder, and in his hand a large gilt goblet, wreathed with flowers. None other than Ninny Moulin, the famous moral and religious writer, could have exhibited to the astonished and delighted spectators an ear of so deep a scarlet, so majestic an abdomen, and a face of such triumphant and majestic fulness. Every moment, Ninny Moulin appeared to empty his cup—after which he burst out laughing in the face of Goodman Cholera. Goodman Cholera, a cadaverous pantaloon, was half-enveloped in a shroud; his mask of greenish cardboard, with red, hollow eyes, seemed every moment to grin as in mockery of death; from beneath his powdered peruke, surmounted by a pyramidical cotton night-cap, appeared his neck and arm, dyed of a bright green color; his lean hand, which shook almost always with a feverish trembling (not feigned, but natural), rested upon a crutch- handled cane; finally, as was becoming in a pantaloon, he wore red stockings, with buckles at the knees, and high slippers of black beaver. This grotesque representative of the cholera was Sleepinbuff.
Notwithstanding a slow and dangerous fever, caused by the excessive use of brandy, and by constant debauchery, that was silently undermining his constitution, Jacques Rennepont had been induced by Morok to join the masquerade. The brute-tamer himself, dressed as the King of Diamonds, represented PLAY. His forehead was adorned with a diadem of gilded paper, his face was pale and impassible, and as his long, yellow beard fell down the front of his parti-colored robe, Morok looked exactly the character he personated. From time to time, with an air of grave mockery, he shook close to the eyes of Goodman Cholera a large bag full of sounding counters, and on this bag were painted all sorts of playing cards. A certain stiffness in the right arm showed that the lion-tamer had not yet quite recovered from the effects of the wound which the panther had inflicted before being stabbed by Djalma.
PLEASURE, who also represented Laughter, classically shook her rattle, with its sonorous gilded bells, close to the ears of Goodman Cholera. She was a quick, lively young girl, and her fine black hair was crowned with a scarlet cap of liberty. For Sleepinbuff's sake, she had taken the place of the poor Bacchanal queen, who would not have failed to attend on such an occasion—she, who had been so valiant and gay, when she bore her part in a less philosophical, but not less amusing masquerade. Another pretty creature, Modeste Bornichoux, who served as a model to a painter of renown (one of the cavaliers of the procession), was eminently successful in her representation of LOVE. He could not have had a more charming face, and more graceful form. Clad in a light blue spangled tunic, with a blue and silver band across her chestnut hair, and little transparent wings affixed to her white shoulders, she placed one forefinger upon the other, and pointed with the prettiest impertinence at Goodman Cholera. Around the principal group, other maskers, more or less grotesque in appearance, waved each a banner, an which were inscriptions of a very anacreontic character, considering the circumstances:
'Down with the Cholera!' 'Short and sweet!' 'Laugh away, laugh always!' 'We'll collar the Cholera!' 'Love forever!' 'Wine forever!' 'Come if you dare, old terror!'
There was really such audacious gayety in this masquerade, that the greater number of the spectators, at the moment when it crossed the square, in the direction of the eating-house, where dinner was waiting, applauded it loudly and repeatedly. This sort of admiration, which courage, however mad and blind, almost always inspires, appeared to others (a small number, it must be confessed) a kind of defiance to the wrath of heaven; and these received the procession with angry murmurs. This extraordinary spectacle, and the different impressions it produced, were too remote from all customary facts to admit of a just appreciation. We hardly know if this daring bravado was deserving of praise or blame.
Besides, the appearance of those plagues, which from age to age decimate the population of whole countries, has almost always been accompanied by a sort of mental excitement, which none of those who have been spared by the contagion can hope to escape. It is a strange fever of the mind, which sometimes rouses the most stupid prejudices and the most ferocious passions, and sometimes inspires, on the contrary, the most magnificent devotion, the most courageous actions—with some, driving the fear of death to a point of the wildest terror—with others, exciting the contempt of life to express itself in the most audacious bravadoes. Caring little for the praise or blame it might deserve, the masquerade arrived before the eating-house, and made its entry in the midst of universal acclamations. Everything seemed to combine to give full effect to this strange scene, by the opposition of the most singular contrasts. Thus the tavern, in which was to be held this extraordinary feast, being situated at no great distance from the antique cathedral, and the gloomy hospital, the religious anthems of the ancient temple, the cries of the dying, and the bacchanalian songs of the banqueteers, must needs mingle, and by turns drown one another. The maskers now got down from their chariot, and from their horses, and went to take their places at the repast, which was waiting for them. The actors in the masquerade are at table in the great room of the tavern. They are joyous, noisy, even riotous. Yet their gayety has a strange tone, peculiar to itself.
Sometimes, the most resolute involuntarily remember that their life is at stake in this mad and audacious game with destiny. That fatal thought is rapid as the icy fever-shudder, which chills you in an instant; therefore, from time to time, an abrupt silence, lasting indeed only for a second, betrays these passing emotions which are almost immediately effaced by new bursts of joyful acclamation, for each one says to himself: 'No weakness! my chum and my girl are looking at me!'
And all laugh, and knock glasses together, and challenge the next man, and drink out of the glass of the nearest woman. Jacques had taken off the mask and peruke of Goodman Cholera. His thin, leaden features, his deadly paleness, the lurid brilliancy of his hollow eyes, showed the incessant progress of the slow malady which was consuming this unfortunate man, brought by excesses to the last extremity of weakness. Though he felt the slow fire devouring his entrails, he concealed his pain beneath a forced and nervous smile.
To the left of Jacques was Morok, whose fatal influence was ever on the increase, and to his right the girl disguised as PLEASURE. She was named Mariette. By her side sat Ninny Moulin, in all his majestic bulk, who often pretended to be looking for his napkin under the table, in order to have the opportunity of pressing the knees of his other neighbor, Modeste, the representative of LOVE. Most of the guests were grouped according to their several tastes, each tender pair together, and the bachelors where they could. They had reached the second course, and the excellence of the wine, the good cheer, the gay speeches, and even the singularity of the occasion, had raised their spirits to a high degree of excitement, as may be gathered from the extraordinary incidents of the following scene.
(39) We read in the Constitutionnel, Saturday March 31st, 1832: 'The Parisians readily conform to that part of the official instructions with regard to the cholera, which prescribes, as a preservation from the disease, not to be afraid, to amuse one's self, etc. The pleasures of Mid-Lent have been as brilliant and as mad as those of the carnival itself. For a long time past there had not been so many balls at this period of the year. Even the cholera has been made the subject of an itinerant caricature.'
CHAPTER XX. THE DEFIANCE.
Two or three times, without being remarked by the guests, one of the waiters had come to whisper to his fellows, and point with expressive gesture to the ceiling. But his comrades had taken small account of his observations or fears, not wishing, doubtless, to disturb the guests, whose mad gayety seemed ever on the increase.
'Who can doubt now of the superiority of our manner of treating this impertinent Cholera? Has he dared even to touch our sacred battalion?' said a magnificent mountebank-Turk, one of the standard-bearers of the masquerade.
'Here is all the mystery,' answered another. 'It is very simple. Only laugh in the face of the plague, and it will run away from you.'
'And right enough too, for very stupid work it does,' added a pretty little Columbine, emptying her glass.
'You are right, my darling; it is intolerably stupid work,' answered the Clown belonging to the Columbine; 'here you are very quiet, enjoying life, and all on a sudden you die with an atrocious grimace. Well! what then? Clever, isn't it? I ask you, what does it prove?'
'It proves,' replied an illustrious painter of the romantic school, disguised like a Roman out of one of David's pictures, 'it proves that the Cholera is a wretched colorist, for he has nothing but a dirty green on his pallet. Evidently he is a pupil of Jacobus, that king of classical painters, who are another species of plagues.'
