Cecil Castlemaine's Gage, Lady Marabout's Troubles, and Other StoriesOuida
General
Cecil Castlemaine's Gage, Lady Marabout's Troubles, and Other Stories
Ouida
Great Britain -- Social life and customs -- 19th century -- Fiction
The mot had true feminine malice, but the lips that spoke it were so
handsome, that had even poor Favart himself, the poet-pastrycook who
composed operas and comedies while he made méringues and fanfreluches,
and dreamed of libretti while he whisked the cream for a supper, been
within hearing, they would have taken the smart from the sting; and, as
it was, the hit only caused echoes of softly-tuned laughter, for the
slightest word of those lips it was the fashion through Paris just then
to bow to, applaud, and re-echo.
Before her Psyche, shrouded in cobweb lace, powdered by Martini,
gleaming with pearls and emeralds, scented with most delicate amber,
making her morning toilette, and receiving her morning levee according
to the fashion of the day, sat the brilliant satirist of poor Favart.
The _ruelle_ was crowded; three marshals, De Richelieu, Lowendal, and
Maurice de Saxe; a prince, De Soubise; a poet, Claude Dorat; an abbé,
Voisenon; a centenarian, Saint-Aulaire; peers uncounted, De Bièvre, De
Caylus, De Villars, D'Etissac, Duras, D'Argenson--a crowd of
others--surrounded and superintended her toilette, in a glittering troop
of courtiers and gentlemen. Dames d'atours (for she had her maids of
honor as well as Marie Leczinska) handed her her flacons of perfume, or
her numberless notes, on gold salvers, chased by Réveil; the ermine
beneath her feet, humbly sent by the Russian ambassador--far superior to
what the Czarina sent to Madame de Mailly--had cost two thousand louis;
her bedroom outshone in luxury any at Versailles, Choisy, or La Muette,
with its Venetian glass, its medallions of Fragonard, its plaques of
Sèvres, its landscapes of Watteau, framed in the carved and gilded
wainscoting, its Chinese lamps, swinging by garlands of roses, its
laughing Cupids, buried under flowers, painted in fresco above the
alcove, its hangings of velvet, of silk, of lace; and its cabinets, its
screens, its bonbonnières, its jewel-boxes, were costly as those of the
Marquises de Pompadour or De Prie.
Who was she?--a Princess of the Blood, a Duchess of France, a mistress
of the King?
Lords of the chamber obeyed her wishes, ministers signed lettres de
cachet at her instance; "_ces messieurs_," la Queue de la Régence, had
their rendezvous at her suppers; she had a country villa that eclipsed
Trianon; she had fêtes that outshone the fêtes at Versailles; she had a
"_droit de chasse_" in one of the royal districts; she had the first
place on the easels of Coypel, Lancret, Pater, Vanloo, La Tour; the
first place in the butterfly odes of Crébillon le Gai, Claude Dorat;
Voisenon.
Who was she?--the Queen of France? No; much more--the Queen of Paris!
Public-domain text, read in full here on John Shaqi.
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