Volume 6 — The Managers Dilemma.

"I Tell you, child, you can do it; and I say you shall!"

The speaker was the fat hostess of a hotel in one of the principal streets of Naples; the time was the summer of 1812. The lady waddled back and forward with an air of importance, her hands on her hips. The person she addressed was a lad apparently sixteen years of age, and very tall and stout for his years. His beardless chin and boyish features, combined with a shuffling bashfulness in his deportment, did not tend to inspire confidence in any great achievement to be expected from him.

"But, buona mia donna—" he began deprecatingly.

"I am a judge!" persisted the hostess. "Master Benevolo shall find you a treasure, and the jewel of his company! Such a company! The princess is magnificent! Did not the Duke of Anhalt—swear she was ravishing in beauty as in acting, with eyes like diamonds, and a figure majestic as Juno's?"

"Superb!" exclaimed the lad.

"And such an admirable comic actor; a figure that is one laugh, and a wit like Sancho Panza's; a genius, too, for the pathetic; he weeps to enchantment, and will bring tears to your eyes after a convulsion of mirth. An unrivalled troupe! a coronet of gems—wanting only an actor of tragedy!"

The boy sighed, and cast his eyes on the ground.

"And you must travel," pleaded the landlady. "You are not safe here in Naples. You may be taken, and carried back to the conservatorio."

This last argument had effect. The lad sprang to his feet.

"Back to school, to be punished for a runaway—when you might do such wonders! Come, you are ready, I see. There is no time to be lost."

She took the boy by the hand and led him into the grand salon of the hotel. Here sat the manager of an Italian theatrical company, in absolute despair. He and his troupe were to leave Naples in an hour. For three days he had staid beyond his time, seeking what the city did not afford—an actor of tragedy; and he was now bitterly lamenting to his landlord the ill luck that would compel him to depart for Salerno destitute of so important an adjunct.

"What shall I do?" cried the impresario, wringing his hands, "without a Geronimo or a Falerio?"

"You may yet find an actor," suggested the good-natured host.

"He must drop, then, from the clouds, and at once! My friends at Salerno have twice put off the performance, waiting for me. Saint An

tonio! to think of losing so much money!" The corpulent hostess had entered the room, the bashful youth a few paces behind her.

"I have found you a tragedian, Master Benevolo," she cried; "a capital fellow. You have fatigued yourself running over Naples in search of one—and he has been waiting for you here since last evening."

"What do you mean!" exclaimed both manager and landlord.

"You shall have your tragedian. All the rest is my secret. Oh! he is a great genius! If you had heard him last night! All the maids were in tears. Had he a robe and poniard, he would have been terrific. He sang droll songs, too, and made us laugh till my sides ached. I should have told you of him before, but you went out so early."

"At what theatres has he appeared?" asked the manager, much interested.

"He has never been on the stage; but he will make his way. Such genius—such passion! He has left home to embrace the profession."

The impresario mused. "Let me see him," he said.

The landlady took the lad by the hand and pulled him forward. He stood with eyes cast down, in the most awkward attitude.

"A mere boy!" exclaimed the disappointed director. "He—fit for an actor!" And with a look of contempt he surveyed the youth who aspired to represent the emperors of Rome and the tyrants of Italian republics.

"Everything has a beginning!" persisted the dame. "Louis, come forward, and show the maestro what you can do."

The overgrown lad hung his head bashfully; but, on further urging, advanced a pace or two, flung over his arms the frayed skirt of his coat to serve as a drapery, and recited some tragic verses of Dante.

"Not bad!" cried the manager. "What is your name?"

"Louis," replied the lad, bowing.

"Louis—what?"

"Louis only for the present," interposed the hostess, with an air of mystery. "You are not to know his family name. You see—he left home—"

"I understand: the runaway might be caught. Let me hear him in Otello."

Louis, encouraged, recited a brilliant tragic scene. The manager followed his gestures with hands and head, and, when he had ended, applauded loudly, with flashing eyes.

"Bravo! bravo!" he cried, rubbing his hands. "That is what I want! You will make a capital Moor, set in shape a little! I engage you at once, at fifteen ducats a month: and here is the first month's pay in advance for your outfit—a suit of clothes to make you look like a gentleman. Go, buy them, pack up to go with us; and I will have a mule ready for you."

While the impresario made his preparations for departure, the delighted hostess assisted Louis in his. He had spent two or three days roaming about Naples before he came to the hotel, and had some debts to pay. These liquidated, his bill paid at the hotel, and a new suit purchased, nothing remained of his fifteen ducats. In less than two hours the troupe was on its way out of Naples.

At Salerno the manager had advertisements struck off, announcing the début of a new tragic actor—a wonderful genius—presented to the public as a phenomenon—in a popular part. Curiosity was soon excited to see him. In the evening the theatre was crowded. The director walked about, rubbing his hands in ecstasy, and counting the piles of gold as they accumulated. Louis, arrayed in an emperor's costume of the middle ages, was practising behind the scenes how to sustain the part of a sovereign. A pretty young girl—one of the chorus—who may be called Rosina, stood watching him, and commenting freely on his performance.

"Oh! that will not do at all, your majesty!" she cried, as he made an awkward movement. "What an emperor! This is your style!" And she began mimicking his gestures so provokiagly that Louis declared he would have his revenge in a kiss. He was presently chasing her around the scenes, to the disorder of his imperial robes.

The sound of voices and an unusual bustle startled him; he fancied the curtain was going to rise, and called lustily for his sword. But the noise was outside the private door of the theatre. It was flung open, and the lad's consternation may be imagined when he saw advancing toward him the vice-rector of his school, followed by six sbirri. The manager was there, too, wringing his hands with gestures of grief and despair. Louis stood petrified, till the officer, laying a hand on his shoulder, arrested him by an order from the King of Naples. The whole company had rushed together, and were astonished to hear that their tragedian was forthwith to be taken back to the "Conservatorio clella Pieta dei Turchini," to be remanded to his musical studies under the great master Marcello Perrino.

The emperor in petto forgot his dignity, and burst into tears; Rosina cried for sympathy, and there was a general murmur of dissatisfaction.

The manager strove to remonstrate. "Such a genius—tragedy is his vocation!" he pleaded.

"His vocation just now is to go back to school," said the vice-rector gruffly.

"But, signer, you are robbing the public."

"Has not the graceless boy been robbing his majesty, who was pleased to place him in the conservatorio after his father's death?"

"He is in my service; I have paid him a month in advance."

"You were wrong to engage a raw lad whom you knew to be a runaway from his guardians. Come, Louis!"

The sbirri roughly removed the imperial robes from the blubbering lad. The impresario was in an agony, for the assembled audience began to give signs of impatience.

"Let him only perform in this piece," he urged.

"Away with him!" answered the vice-rector. Louis wiped away his tears. "Dear Master Benevolo," he said, "I will yet be revenged. I will be a tragedian in spite of them!"

"And my losses—my fifteen ducats cried the director.

"I will make them up, I promise you." The vice-rector laughed scornfully, and the men forced the lad away. Rosina ran after him, "Stay, Louis!" she cried, putting her handkerchief into his hands, "You forgot this." Louis thanked her with a tender glance, and put the keepsake in his bosom.

When the party had disappeared, the manager went to pacify his impatient audience. He was consoled by the reflection that the vagabond had left his trunk behind. It was very large and heavy, and, before causing the lock to be broken next morning, Signor Benevolo called some of his friends to make an inventory of its contents. It was found filled with sand! The young débutant had resorted to this trick, that the servants at the inns where they stopped might believe the trunk contained gold and treat him with respect accordingly.

The impresario was in a towering passion. He railed at Louis, showering on him abusive epithets as a cheat and an impostor. He could only retaliate for the loss of his fifteen ducats by writing him a letter full of furious invectives, assuring him that so base a thief need never aspire to the honors of tragedy! The letter was read quietly by Louis, who made no answer, but applied himself diligently to his musical studies. His progress was so rapid that his masters declared he bade fair to rival Bohrer on the violoncello and Tulon on the flute. As a reward for his efforts, a hall in the conservatorio was arranged for the private representations of the pupils.

In the autumn of 1830, Ex-Manager Benevolo chanced to be in Paris. The beautiful Rosina was then noted as an admired singer. She had many conversations with the Italian, who was disgusted with the French actors, and declared that the best days of tragic art were past.

One day there was no small excitement at the announcement of the tragic opera of Otello. It was given out that a new artist of great reputation would appear at the Théâtre Italien. His progress through the Italian cities had been a continued triumph. On his first appearance in Paris the connoisseurs had been determined to show him no favor. As he came on the stage, his grand, imposing figure and good-humored countenance were pre-possessing; but, when his magnificent voice rose swelling above the orchestra, there was a burst of rapturous applause. Powerful and thrilling, penetrating to the depths of pathos, that voice carried all before it; and he was voted by acclamation the first basse-taille of the age.

"You must hear him!" said Rosina, as the ex-manager protested that he did not care for it. He would be sure to condemn what pleased those fantastical Parisians.

"You must hear him in Otello!" persisted the fair singer. "Here is an invitation for you, written by himself."

"Why should he have sent this to me?" asked the gratified Italian.

"As a friend of mine," replied the singer, "he wished to show you attention. You will go with me."

In the evening they went to the theatre. There was a thunderburst of applause as the colossal form of the actor moved across the stage. "A noble figure for tragedy!" exclaimed Benevolo. "Ha! I should like him for the tyrant in Anna Bolena!" When the superb tones of his voice, full of power, yet exquisite in melody, filled the house with the rich volume of sound, the Italian gave up his prejudices. In the deeper passion of the part he was carried away by enthusiasm like the audience. "Stupendo! Tragico!" he exclaimed, wiping his eyes, while the curtain descended.

"You must speak with him!" insisted Rosina. And she drew Benevolo through the door leading behind the scenes. The great artist came to meet them. Benevolo gazed upon him in awe and astonishment; then, recovering himself, faltered forth the expression of his surprise and delight. It was "the king of tragedy" whom he had the honor of greeting!

"I am rejoiced to see you at last, my good master Benevolo!" cried the artist. "Tell me if you have really been pleased. Shall I ever make a tragic actor?"

"You are wonderful—the first in the world!" cried the enraptured ex-manager. "And Rosina says you are an Italian! I am proud of my countryman!"

"Ah! mio fratello! but you had once not so good an opinion of me! Do you not recognize your old acquaintance—the runaway Louis?"

Benevolo stared in astonishment.

"I have grown somewhat since the affair at Salerno," said the artist, laughing, and clapping his stout sides. "Ah! I forgot; you had good reason for being displeased with me. The fifteen ducats—and that heavy trunk of mine—that gave you trouble for nothing! It ought to have been ransomed long ago; but I waited to do it with my pay as a tragedian. I wanted to prove your prediction untrue! He drew out a paper from his pocket-book, and presented it.

"Here is an order for twelve hundred francs."

Signor Benevolo stammered a refusal. He could not accept so large a gift.

"Take it, friend. It is your just due! Principal and interest you know. My fortune has grown apace with my embonpoint."

"You are a noble fellow!" cried the ex-manager, grasping his hand. "Now, do me another favor, and tell me your real name. The one you act under is assumed, of course!"

"No, it is the same—Lablache."

"Lablache! Are you a Frenchman, then?"

"My father was a Frenchman: he fled from Marseilles at the time of the revolution. I was born in Naples. Are you satisfied?"

"I thought from the beginning," said Benevolo, "you were a nobleman in disguise. I know you, now, for a monarch in art."

Lablache thanked him cordially. "Now you must come home and sup with me, in the Rue Richelieu," he said. "I have invited a few friends to meet you, and they will be waiting for us."