One of Cleopatra's Nights and Other Fantastic RomancesGautier, Théophile
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One of Cleopatra's Nights and Other Fantastic Romances
Gautier, Théophile
French fiction -- Translations into English; Short stories
Then he gave an analysis of the comedy about to be performed by the
actors, with that minuteness of detail which shows how little the
element of surprise entered into the theatrical pleasures of the
ancient. He told how the aged Stalino, being enamored of his beautiful
slave Casina, desired to marry her to his farmer Olympio, a complaisant
spouse whose place he himself would fill on the nuptial night; and how
Lycostrata, wife of Stalino, in order to thwart the luxury of her
vicious husband, sought to unite Casina in marriage to the groom
Chalinus with the further idea of favoring the amours of her son--in
fine, how the deceived Stalino mistook a young slave in disguise for
Casina, who, being discovered to be free, and of free birth, espouses
the young master whom she loves and by whom she is beloved.
As in a reverie, the young Frenchman watched the actors with their
bronze-mouthed masks, exerting themselves upon the stage; the slaves ran
hither and thither, feigning great haste; the old man wagged his head
and extended his trembling hand; the matron with high words and scornful
mien strutted in her importance and quarrelled with her husband, to the
great delight of the audience. All these personages made their entrances
and exits through three doors contrived in the foundation-wall and
communicating with the green-room of the actors. The house of Stalino
occupied one corner of the stage, and that of his old friend Alcesimus
faced it on the opposite side. These decorations, although very well
painted, represented the idea of a place rather than the place itself,
like most of the vague scenery of the classic theatres.
When the nuptial procession, pompously escorting the false Casina,
entered upon the stage, a mighty burst of laughter, such as Homer
attributes to the gods, rang through all the amphitheatre, and thunders
of applause evoked the vibrating echoes of the enclosure, but Octavian
heard no more and saw no more of the play.
In the circle of seats occupied by the women, he had just beheld a
creature of marvellous beauty. From that moment all the other charming
faces which had attracted his attention became eclipsed as the stars
before the face of Phœbus--all vanished, all disappeared as in a dream;
a mist clouded the circles of seats with their swarming multitudes, and
the high-pitched voices of the actors seemed lost in infinite distance.
His heart received a sudden shock as of electricity, and it seemed to
him that sparks flew from his breast when the eyes of that woman turned
upon him.
Public-domain text, read in full here on John Shaqi.
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