As may be imagined, the four allegorical characters were rather fatigued after traversing three quarters of the globe without managing to dispose of their golden dolphin suitably. Thereupon ensued fresh eulogies of the marvellous fish, with a thousand delicate allusions to the young lover of Margaret of Flanders, then very sadly secluded at Amboise, and little suspecting that Labor and Religion, Nobility and Commerce, had just travelled around the world for his sake. The aforesaid dauphin was young, was handsome, was strong, and especially (magnificent source of all royal virtues!) he was the son of the Lion of France. I declare that this bold metaphor is admirable; and that the natural history of the theater, on a day of allegories and royal epithalamia, is not to be alarmed at the thought of a dolphin being the son of a lion. It is just these rare and Pindaric mixtures which prove the degree of enthusiasm. Nevertheless, to play the critic, we must confess that the poet might have managed to develop this beautiful idea in less than two hundred lines. True, the mystery was to last from noon until four o‘clock, by the order of the provost; something must be done to fill up the time. Besides, the people listened patiently.

All at once, in the very middle of a quarrel between Mademoiselle Commerce and Madame Nobility, just as Master Labor pronounced this wonderful line,—the door leading to the platform, which had hitherto remained so inopportunely closed, was still more inopportunely opened, and the ringing voice of the usher abruptly announced: “His Eminence, Monseigneur the Cardinal de Bourbon!”

“Ne‘er saw the woods a beast more beautiful,”

CHAPTER III

The Cardinal

Poor Gringoire! The noise of all the big cannon crackers fired on St. John’s day, the discharge of twenty crooked arquebuses, the thunder of that famous serpentine of the Tower of Billy, which, during the siege of Paris, on Sunday, Sept. 29, 1465, killed seven Burgundians at one shot, the explosion of all the gunpowder stored at the Temple Gate, would have assailed his ears less rudely, at that solemn and dramatic moment, than did those few words dropping from the mouth of an usher: “His Eminence, Monseigneur the Cardinal de Bourbon!”

Not that Pierre Gringoire feared the Cardinal or scorned him; he was neither so weak nor so conceited. A genuine eclectic, as he would be called nowadays, Gringoire was one of those firm and lofty, calm and temperate souls, who always contrive to choose a happy medium (stare in dimidio rerum), and who are full of sense and liberal philosophy, although they have a high regard for cardinals. Precious and perpetual race of philosophers, to whom, as to another Ariadne, wisdom seems to have given a ball of thread which they have gone on unwinding from the beginning of the world, as they journeyed through the labyrinth of human things! They are to be found in every age, ever the same; that is, always in harmony with the age. And, to say nothing of our Pierre Gringoire, who would represent them in the fifteenth century if we could succeed in portraying him as he deserves, it is assuredly their spirit which animated Father du Breuil in the sixteenth, when he wrote these simple and sublime words, worthy of all the ages: “I am a Parisian in nationality and parrhisian in speech; parrhisia being a Greek word signifying ‘freedom of speech;’ the which I have used even towards the cardinals, uncle and brother to the Prince of Conty; always with due respect for their greatness, and without offending any man among their followers, which is much.”

The disagreeable effect which the Cardinal produced on Pierre Gringoire, therefore, partook neither of hatred nor of scorn. Quite the contrary; our poet had too much good sense and too threadbare a coat not to attach especial value to the fact that many an allusion in his prologue, and particularly those in glorification of the dauphin, son of the Lion of France, might be heard by a most eminent ear. But interest is not all-powerful in the noble nature of poets. Let us suppose the entity of the poet to be represented by the number ten: it is certain that a chemist, who should analyze and “phar macopœize” it, as Rabelais says, would find it to be composed of one part self-interest to nine parts of self-esteem. Now, at the moment that the door was thrown open to admit the Cardinal, Gringoire’s nine parts of self-esteem, swollen and inflated by the breath of public admiration, were in a state of abnormal development, before which the imperceptible molecule of self-interest, which we just now discovered in the constitution of poets, vanished and faded into insignificance, precious ingredient though it was,—the ballast of reality and humanity, without which they would never descend to earth. Gringoire enjoyed feeling, seeing, handling, as it were, an entire assembly,—of rascals, it is true, but what did that matter? They were stupefied, petrified, and almost stifled by the incommensurable tirades with which every portion of his epithalamium bristled. I affirm that he himself partook of the general beatitude, and that, unlike La Fontaine, who, on witnessing a performance of his own comedy, “The Florentine,” inquired, “What clown wrote that rhap sody?” Gringoire would gladly have asked his neighbor, “Whose is this masterpiece?” You may judge the effect produced on him by the abrupt and untimely arrival of the Cardinal.

His fears were but too soon realized. The entrance of his Eminence distracted the audience. Every head was turned towards the platform. No one listened. “The Cardinal! the Cardinal!” repeated every tongue. The unfortunate prologue was a second time cut short.

The Cardinal paused for a moment on the threshold. While he cast an indifferent glance over the assembly, the uproar increased. Every one wished to get a better view of him. Every one tried to see who could best stretch his neck over his neighbor’s shoulders.

He was indeed a great personage, and one the sight of whom was well worth any other spectacle. Charles, the Cardinal de Bourbon, Archbishop and Count of Lyons, Primate of the Gauls, was at the same time related to Louis XI through his brother, Pierre, Lord of Beaujeu, who had married the eldest daughter of the king, and related to Charles the Bold through his mother, Agnes of Burgundy. Now, the dominant feature, the characteristic and distinctive trait in the character of the Primate of the Gauls, was his courtier-like spirit and his devotion to those in power. It is easy to imagine the countless difficulties in which his double kinship had involved him, and all the temporal reefs between which his spiritual bark had been forced to manoeuvre lest it should founder upon either Louis or Charles,—that Charybdis and that Scylla which had swallowed up the Duke of Nemours and the Constable of Saint-Pol.