In the Courts of Memory, 1858-1875; from Contemporary LettersHegermann-Lindencrone, L. de (Lillie de)
History
In the Courts of Memory, 1858-1875; from Contemporary Letters
Hegermann-Lindencrone, L. de (Lillie de)
France -- Court and courtiers; France -- Social life and customs -- 19th century
The annual _soirée_ of the Governor and his wife took place last night.
The Captain of the Port came to fetch us. The palace is, like all
other official buildings, magnificent on the outside, but simple and
severe within. There was a fine staircase, and all the rooms were
brilliantly lighted, but very scantily furnished, according to our ideas.
We must have gone through at least six rooms before we reached the host
and hostess. Every room was exactly alike: in each was a red strip of
carpet, half a dozen rocking-chairs placed opposite one another, a cane-
bottomed sofa, a table with nothing on it, and walls ditto. There are
never any curtains, and nothing is upholstered. This is the typical Cuban
salon.
There was an upright piano and a pianist at it when we entered, but the
resonance was so overpowering that I could not hear what he was playing.
Laura and I (after having been presented to a great many people) were
invited to sit in the rocking-chairs. The gentlemen either stood out in
the corridor or else behind the chair of a lady and fanned her. _Dulces_
and ices were passed round, and every one partook of them, delighted to
have the opportunity to do something else than talk.
When the pianist had finished his Chopin a lady sang, accompanied by her
son, who had brought a whole pile of music. She courageously attacked the
_Cavatina_ of "Ernani." The son filled up the places in her vocalization
which were weak by playing a dashing chord. She was a stout lady and very
warm from her exertions, and the more she exerted herself the more
frequently the vacancies occurred; and the son, perspiring at every pore,
had difficulty to fill them up with the chords, which became louder and
more dashing.
Countess Ceballos, with much hemming and hawing, begged me to sing. I felt
all eyes fixed on me; but my eyes were riveted to the little, low piano-
stool on which I should have to sit. It seemed miles below the piano-keys.
"How could I play on it?" Evidently none but long-bodied performers had
been before me, for when I asked for a cushion, in order to raise myself a
little, nothing could be found but a very bulgy bed-pillow, which was
brought, I think, from the mother country. There was a sort of Andalusian
swagger about it.
The dream "that I dwelt in marble halls" was no longer a dream. Here I was
singing in one. I sang "_Ma Mère était Bohémienne_," and another song
which had an easy accompaniment. It took me a little moment to temper my
voice to these shorn rooms.
The charge of musketry which followed was deafening, though only gentlemen
clapped their hands; ladies don't rise to such exertion in Cuba. I sang
"Beware!" as a parting salute. The Captain of the Port came up, flushed
with pride, and said, in his best English, "I am all proudness!"
_Panelas_ (large pieces of frosted sugar, to be melted in water) and
other sweets were passed about at intervals.
Public-domain text, read in full here on John Shaqi.
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