Yet, born a Roman, I will die for Rome! This vigorous senate, though to me unjust, Pull of suspicious jealousy, and fear, I love beyond the splendor of a court And the proud sceptre of a single lord. I am the son of Brutus, and my heart Deep-graven bears the love of liberty, And hate of kings. Finally when, in the following scene, he exclaims, renouncing his love: Banish far The vain delusion! Rome with loud acclaim Invites me to the Capitol; the people Seek the triumphal arches raised on high, Thick with my glory crowned, and full adorned With all my labors; underneath their shade Convened, they wait my presence to begin The sacred rites, the strict coercive oath, Inviolable surety of our freedom-- the most enthusiastic of the people darted upon the stage, in order to embrace the player and press his hand, while the ladies waved their handkerchiefs and threw bouquets. Nothing was lacking to the triumph of Voltaire and Brutus, and above all Fleury, the young actor, for he carried off the honors of the evening. As has been said, the second piece was by the Frenchman Demoustier, and was called "Filial Love, or the Wooden Leg." It was one of those idyls prompted by the Republic's muse; for it is a remarkable fact that never was dramatic literature more roseate than during the years '92, '93 and '94--that is the time that produced "The Death of Abel," "The Peacemaker," and "The Farmer's Beautiful Wife." It seemed as if, after the blood-stained iniquities of the street, the people had need of these insipidities to restore their equilibrium. Nero crowned himself with flowers after the burning of Rome. But an incident occurred which, though it had to do with the morning's battle, threatened to put an end to the performance. Madame Fromont, who played the part of Louise, the only woman in the piece, had lost both her father and her husband in the morning's skirmish. It was therefore almost impossible for her, under the circumstances, to play the part of a lover, or, in fact, any part at all. The curtain rose between the two plays and Titus-Fleury reappeared. At first the audience applauded, then, seeing that he had something to say, they were silent. In fact he had come with tears in his eyes to say, in the name of Madame Fromont, that the management be allowed to replace "Filial Love" with "Rose and Colas," since Madame Fromont mourned her father and husband, who had been killed for the Republic. Cries of "Yes, yes!" mingled with cheers, were heard all over the house, and Fleury had already bowed to depart, when Tétrell, rising, made a sign that he wished to speak. At once several voices cried: "It is Tétrell, the friend of the people! Tétrell, the terror of the aristocrats! Let him speak! Long live Tétrell!" CHAPTER VIII THE PROVOCATION