It was a deputation of mortals whom Ganymede and Iris had introduced, respectable middle-class persons, deceived husbands, all of them, and they came before the master of the gods to proffer a complaint against Venus, who was assuredly inflaming their good ladies with an excess of ardor. The chorus, in quaint, dolorous tones, broken by silences full of pantomimic admissions, caused great amusement. A neat phrase went the round of the house: 'The cuckolds' chorus, the cuckolds' chorus,' and it 'caught on,' for there was an encore. The singers' heads were droll; their faces were discovered to be in keeping with the phrase, especially that of a fat man which was as round as the moon. Meanwhile Vulcan arrived in a towering rage, demanding back his wife who had slipped away three days ago. The chorus resumed their plaint, calling on Vulcan, the god of the cuckolds. Vulcan's part was played by Fontan, a comic actor of talent, at once vulgar and original, and he had a role of the wildest whimsicality and was got up as a village blacksmith, fiery red wig, bare arms tattooed with arrow-pierced hearts and all the rest of it. A woman's voice cried in a very high key, 'Oh, isn't he ugly?' and all the ladies laughed and applauded.
Then followed a scene which seemed interminable. Jupiter in the course of it seemed never to be going to finish assembling the Council of Gods in order to submit thereto the deceived husband's requests. And still no Nana! Was the management keeping Nana for the fall of the curtain then? So long a period of expectancy had ended by annoying the public. Their murmurings began again.
'It's going badly,' said Mignon radiantly to Steiner. 'She'll get a pretty reception; you'll see!'
At that very moment the clouds at the back of the stage were cloven apart and Venus appeared. Exceedingly tall, exceedingly strong, for her eighteen years, Nana, in her goddess's white tunic and with her light hair simply flowing unfastened over her shoulders, came down to the footlights with a quiet certainty of movement and a laugh of greeting for the public and struck up her grand ditty:
'When Venus roams at eventide.'
From the second verse onward people looked at each other all over the house. Was this some jest, some wager on Bordenave's part? Never had a more tuneless voice been heard or one managed with less art. Her manager judged of her excellently; she certainly sang like a squirt. Nay, more, she didn't even know how to deport herself on the stage: she thrust her arms in front of her while she swayed her whole body to and fro in a manner which struck the audience as unbecoming and disagreeable. Cries of 'Oh, oh!' were already rising in the pit and the cheap places. There was a sound of whistling, too, when a voice in the stalls, suggestive of a molting cockerel, cried out with great conviction:
'That's very smart!'
All the house looked round. It was the cherub, the truant from the boardingschool, who sat with his fine eyes very wide open and his fair face glowing very hotly at sight of Nana. When he saw everybody turning toward him be grew extremely red at the thought of having thus unconsciously spoken aloud. Daguenet, his neighbor, smilingly examined him; the public laughed, as though disarmed and no longer anxious to hiss; while the young gentlemen in white gloves, fascinated in their turn by Nana's gracious contours, lolled back in their seats and applauded.
'That's it! Well done! Bravo!'
Nana, in the meantime, seeing the house laughing, began to laugh herself. The gaiety of all redoubled itself. She was an amusing creature, all the same, was that fine girl! Her laughter made a love of a little dimple appear in her chin. She stood there waiting, not bored in the least, familiar with her audience, falling into step with them at once, as though she herself were admitting with a wink that she had not two farthings' worth of talent but that it did not matter at all, that, in fact, she had other good points. And then after having made a sign to the conductor which plainly signified, 'Go ahead, old boy!' she began her second verse:
''Tis Venus who at midnight passes--'
Still the same acidulated voice, only that now it tickled the public in the right quarter so deftly that momentarily it caused them to give a little shiver of pleasure. Nana still smiled her smile: it lit up her little red mouth and shone in her great eyes, which were of the clearest blue. When she came to certain rather lively verses a delicate sense of enjoyment made her tilt her nose, the rosy nostrils of which lifted and fell, while a bright flush suffused her cheeks. She still swung herself up and down, for she only knew how to do that. And the trick was no longer voted ugly; on the contrary, the men raised their opera glasses. When she came to the end of a verse her voice completely failed her, and she was well aware that she never would get through with it. Thereupon, rather than fret herself, she kicked up her leg, which forthwith was roundly outlined under her diaphanous tunic, bent sharply backward, so that her bosom was thrown upward and forward, and stretched her arms out. Applause burst forth on all sides. In the twinkling of an eye she had turned on her heel and was going up the stage, presenting the nape of her neck to the spectators' gaze, a neck where the red-gold hair showed like some animal's fell. Then the plaudits became frantic.
The close of the act was not so exciting. Vulcan wanted to slap Venus. The gods held a consultation and decided to go and hold an inquiry on earth before granting the deceived husband satisfaction. It was then that Diana surprised a tender conversation between Venus and Mars and vowed that she would not take her eyes off them during the whole of the voyage. There was also a scene where Love, played by a little twelve-year-old chit, answered every question put to her with 'Yes, Mamma! No, Mamma!' in a winy-piny tone, her fingers in her nose. At last Jupiter, with the severity of a master who is growing cross, shut Love up in a dark closet, bidding her conjugate the verb 'I love' twenty times. The finale was more appreciated: it was a chorus which both troupe and orchestra performed with great brilliancy. But the curtain once down, the clappers tried in vain to obtain a call, while the whole house was already up and making for the doors.
The crowd trampled and jostled, jammed, as it were, between the rows of seats, and in so doing exchanged expressions. One phrase only went round:
'It's idiotic.' A critic was saying that it would be one's duty to do a pretty bit of slashing. The piece, however, mattered very little, for people were talking about Nana before everything else. Fauchery and La Faloise, being among the earliest to emerge, met Steiner and Mignon in the passage outside the stalls. In this gaslit gut of a place, which was as narrow and circumscribed as a gallery in a mine, one was well-nigh suffocated. They stopped a moment at the foot of the stairs on the right of the house, protected by the final curve of the balusters. The audience from the cheap places were coming down the steps with a continuous tramp of heavy boots; a stream of black dress coats was passing, while an attendant was making every possible effort to protect a chair, on which she had piled up coats and cloaks, from the onward pushing of the crowd.
'Surely I know her,' cried Steiner, the moment he perceived Fauchery. 'I'm certain I've seen her somewhere-- at the casino, I imagine, and she got herself taken up there--she was so drunk.'
'As for me,' said the journalist, 'I don't quite know where it was. I am like you; I certainly have come across her.'
He lowered his voice and asked, laughing:
'At the Tricons', perhaps.'
'Egad, it was in a dirty place,' Mignon declared. He seemed exasperated. 'It's disgusting that the public give such a reception to the first trollop that comes by. There'll soon be no more decent women on the stage. Yes, I shall end by forbidding Rose to play.'
Fauchery could not restrain a smile. Meanwhile the downward shuffle of the heavy shoes on the steps did not cease, and a little man in a workman's cap was heard crying in a drawling voice:
'Oh my, she ain't no wopper! There's some pickings there!'
In the passage two young men, delicately curled and formally resplendent in turndown collars and the rest, were disputing together. One of them was repeating the words, 'Beastly, beastly!' without stating any reasons; the other was replying with the words, 'Stunning, stunning!' as though he, too, disdained all argument.
La Faloise declared her to be quite the thing; only he ventured to opine that she would be better still if she were to cultivate her voice. Steiner, who was no longer listening, seemed to awake with a start. Whatever happens, one must wait, he thought. Perhaps everything will be spoiled in the following acts. The public had shown complaisance, but it was certainly not yet taken by storm. Mignon swore that the piece would never finish, and when Fauchery and La Faloise left them in order to go up to the foyer he took Steiner's arm and, leaning hard against his shoulder, whispered in his ear:
'You're going to see my wife's costume for the second act, old fellow. It IS just blackguardly.'
Upstairs in the foyer three glass chandeliers burned with a brilliant light. The two cousins hesitated an instant before entering, for the widely opened glazed doors afforded a view right through the gallery--a view of a surging sea of heads, which two currents, as it were, kept in a continuous eddying movement. But they entered after all. Five or six groups of men, talking very loudly and gesticulating, were obstinately discussing the play amid these
