“Do you fancy them?” asked the Duchess. “Louis-Fran?ois is inordinately proud of his horses.”
“Until now I had only seen them from a distance, and supposed that they were simply white horses. But they are more than that; they are albinos, are they not?”
“Ths distinction is lost on me,” the Duchess admitted, “But that is what Louis-Fran?ois calls them. When he comes back from the south he will be glad to tell you more than you wish to hear!”
“Are they commonly seen? Do many people have them here?” Eliza asked. But they were interrupted by, of all things, a man riding an albino horse: étienne de Lavardac d’Arcachon, who had ridden out from the chateau to meet them. “I am mortified to break in on you this way,” he said, after greeting each of them individually, in strict order of precedence (Duchess first, then Pontchartrain, Eliza, horses, mathematician, and driver), “but in your absence, Mother, I am the acting host of the party, and must do all in my power to please our guests—one of whom, by the way, happens to be his majesty the King of France—”
“Oooh! When did le Roi arrive?”
“Just after you left, Mother.”
“Just my luck. What do his majesty and the other guests desire?”
“To see the masque. Which is ready to begin.”
ONE END OF THE GRAND ballroom of La Dunette had been converted into the English Channel. Papier-maché waves with plaster foam, mounted on eccentric bearings so that they cycled about in a more or less convincing churn, had been arranged in many parallel, independently moving ranks, marching toward the back of the room, and raked upwards so that any spectator on the ballroom floor could get a view of the entire width of the “Channel” from “Dunkerque” (a fortified silhouette downstage) to “Dover” (white cliffs and green fields upstage). To stage left was a little pen where a consort sawed away on viols. To stage right was a royal box where King Louis XIV of France sat on a golden chair, with the Marquise de Maintenon at his right hand, dressed more for a funeral than a Christmas party. A retinue was massed behind them. So close to the front of it that he could have put a hand on Maintenon’s shoulder was Father édouard de Gex—this a way of saying that there had better be no salacious bits. Not that Madame la duchesse d’Arcachon would ever even conceive of such a thing; but she had hired artists and comedians to produce it, and one never knew what such people would come up with.
The name of the production was La Métamorphose. Leading man and guest of honor was one Lieutenant Jean Bart, who knew as little of what to do on stage, during a masque, as would a comedian in a naval engagement; but never mind, it had all been written around him and his dramaturgickal shortcomings. The opening number took place on the beach at Dunkerque. A mermaid, perched on a rock, looked on as Jean Bart and his men (dancers dressed as Corsairs) attended an impromptu Mass celebrated on the beach. Exit Priest. Jean Bart led his men onto their frigate (which was no larger than a rowboat, but wittily decked out with masts and yards sprouting every which way, and fleur-de-lis banners). The frigate took to the Channel’s bobbing waves and headed for England. The mermaid, stranded solus downstage right, sang an aria about her lovesick condition; for she had quite fallen in love with the handsome Lieutenant (in an earlier version, there had been no Mass on the beach; it had opened with Jean Bart spawled on the rock in a state of deshabille and the mermaid feeding grapes to him; but the Duchess had had words with the players, and mended it).
Neptune now arose from the waves and sang a duet with the mermaid, his daughter. He wanted to know why she was so morose. Learning the answer, he became cross with Jean Bart and vowed to take revenge on him in the traditional godly style of subjecting him to an inconvenient metamorphosis.