The Court of the Empress Josephine | Page 2

short-lived wonders. A prefect of the palace, M. de Bausset, wrote: "When I recall the memorable times of which I have just given a faint idea, I feel, after so many years, as if I had been taking part in the gorgeous scenes of the Arabian Tales or of the Thousand and One Nights. The magic picture of all those splendors and glories has disappeared, and with it all the prestige of ambition and power." One of the ladies of the palace of the Empress Josephine, Madame de Rémusat, has expressed the same thought: "I seem to be recalling a dream, but a dream resembling an Oriental tale, when I describe the lavish luxury of that period, the disputes for precedence, the claims of rank, the demands of every one." Yes, in all that there was something dreamlike, and the actors in that fairy spectacle which is called the Empire, that great show piece, with its scenery, now brilliant, now terrible, but ever changing, must have been even more astonished than the spectators. Aix-la-Chapelle and the court of Charlemagne, the castle of Fontainebleau and the Pope, Notre Dame and the coronation, the Champ de Mars and the distribution of eagles, the Cathedral of Milan and the Iron Crown, Genoa the superb and its naval festival, Austerlitz and the three emperors,--what a setting! what accessories! what personages! The peal of organs, the intoning of priests, the applause of the multitude and of the soldiers, the groans of the dying, the trumpet call, the roll of the drum, ball music, military bands, the cannon's roar, were the joyful and mournful harmonies heard while the play went on. What we shall study amid this tumult and agitation is one woman. We have already studied her as the Viscountess of Beauharnais, as Citizeness Bonaparte, and as the wife of the First Consul. We shall now study her in her new part, that of Empress.
Let us go back to May 18, 1804, to the Palace of Saint Cloud. The Emperor had just been proclaimed by the Senate before the _plébiscite_ which was to ratify the new state of things. The curtain has risen, the play begins, and no drama is fuller of contrasts, of incidents, of movement. The leading actor, Napoleon, was already as familiar with his part as if he had played it since his childhood. Josephine is also at home in hers. As a woman of the world, she had learned, by practice in the drawing-room, to win even greater victories. For a fashionable beauty there is no great difference between an armchair and a throne. The minor actors are not so accustomed to their new position. Nothing is more amusing than the embarrassment of the courtiers when they have to answer the Emperor's questions. They begin with a blunder; then, in correcting themselves, they fall into still worse confusion; ten times a minute was repeated, Sire, General, Your Majesty, Citizen, First Consul. Constant, the Emperor's valet de chambre, has given us a description of this 18th of May, 1804, a day devoted to receptions, presentations, interviews, and congratulations: "Every one," he says, "was filled with joy in the Palace of Saint Cloud; every one imagined that he had risen a step, like General Bonaparte, who, from First Consul, had become a monarch. Men were embracing and complimenting one another; confiding their share of hopes and plans for the future; there was no official so humble that he was not fired with ambition." In a word, the ante-chamber, barring the difference of persons, presented an exact imitation of what was going on in the drawing-room. It seemed like a first performance which had long been eagerly expected, arousing the same eager excitement among the players and the public. The day which had started bright grew dark; for a long time there were threatenings of a thunder-storm; but none looked on this as an evil omen. All were inclined to cheery views. The courtiers displayed their zeal with all the ardor, the passion, the _furia francese_, which is a national characteristic, and appears on the battle-field as well as in the ante- chamber. The French fight and flatter with equal enthusiasm.
Amid all these manifestations of devotion and delight, the members of the Imperial family alone, who should have been the most satisfied, and certainly the most astonished by their greatness, wore an anxious, almost a grieved look. They alone appeared discontented with their master. Their pride knew no bounds; their irritability was extreme. Nothing seemed good enough, for them. In the way of honors privileges, and when we recall their father's modest at Ajaccio, it is hard to keep from smiling at the vanity of these new Princes of the blood. Of Napoleon's four brothers, two were absent and on bad terms with him: