On the occasion of the tenth biennial visit of the Carlo Da Capo Grand Opera Combination to the musical, if murky, city of Smutchester, the principal members of the company pitched their tents, as was their wont, at the Crown Diamonds Hotel, occupying an entire floor of that capacious caravanserie, whose chef, to the grief of many honest British stomachs and the unrestrained joy of these artless children of song, was of cosmopolitan gifts, being an Italian-Spanish-Swiss-German. Here prime donne, tenors, and bassos could revel in national dishes from which their palates had long been divorced, and steaming masses of yellow polenta, knÜdels, and borsch, heaped dishes of sausages and red cabbage, ragouts of cockscombs and chicken-livers, veal stewed with tomatoes, frittura of artichokes, with other culinary delicacies strange of aspect and garlicky as to smell, loaded the common board at each meal, only to vanish like the summer snow, so seldom seen but so constantly referred to by the poetical fictionist, amidst a Babel of conversation which might only find its parallel in the parrot-house at the Zoo. Ringed hands plunged into salad-bowls; the smoke of cigarettes went up in the intervals between the courses; the meerschaum-colored lager of Munich, the yellow beer of Bass, the purple Chianti, or the vintage of Epernay brimmed the glasses; and the coffee that crowned the banquet was black and thick and bitter as the soul of a singer who has witnessed the triumph of a rival.

For singers can be jealous: and the advice of Dr. Watts is more at discount behind the operatic scenes, perhaps, than elsewhere. For women may be, and are, jealous of other women; and men may be, and are, jealous of men, off the stage; but it is reserved for the hero and heroine of the stage to be jealous of one another. The glare of the footlights, held by so many virtuous persons to be inimical to the rosebud of innocence, has a curiously wilting and shriveling effect upon the fine flower of chivalry. Signor Alberto Fumaroli, primo uomo, and possessor of a glorious tenor, was possessed by the idea that the chief soprano, De Melzi, the enchanting Teresa—still in the splendor of her youth, with ebony tresses, eyes of jet, skin of ivory, an almost imperceptible mustache, and a figure of the most seductive, doomed ere long to expand into a pronounced embonpoint—had adorned her classic temples with laurels which should by rights have decked his own. The press-cuttings of the previous weeks certainly balanced in her favor. Feeble-minded musical critics, of what the indignant tenor termed “provincial rags,” lauded the Signora to the skies. She was termed a “springing fountain of crystal song,” a “human bulbul in the rose-garden of melody.” Eulogy had exhausted itself upon her; while he, Alberto Fumaroli, the admired of empresses, master of the emotions of myriads of American millionairesses, he was fobbed off with half a dozen patronizing lines. Glancing over the paper in the saloon carriage, he had seen the impertinent upper lip of the De Melzi, tipped with the faintest line of shadow, curl with delight as she scanned each accursed column in turn, and handed the paper to her aunt (a vast person invariably clad in the tightest and shiniest of black satins, and crowned with a towering hat of violet velvet adorned with once snowy plumes and crushed crimson roses), who went everywhere with her niece, and mounted guard over the exchequer. Outwardly calm as Vesuvius, and cool as a Neapolitan ice on a hot day, the outraged Alberto endured the triumph of the women, marked the subterranean chuckles of the stout Signora, the mischievous enjoyment of Teresa; pulled his Austrian-Tyrolese hat over his Corsican brows, and vowed a wily vendetta. His opportunity for wreaking retribution would come at Smutchester, he knew. Wagner was to be given at the Opera House, and as great as the previous triumph of Teresa de Melzi in the rÔle of Elsa—newly added by the soprano to her repertoire—should be her fall. Evviva! Down with that fatally fascinating face, smiling so provokingly under its laurels! She should taste the consequences of having insulted a Neapolitan. And the tenor smiled so diabolically that Zamboni, the basso, sarcastically inquired whether Fumaroli was rehearsing Mephistofole?

“Not so, dear friend,” Fumaroli responded, with a dazzling show of ivories. “In that part I should make a bel fiasco; I have no desire to emulate a basso or a bull.... But in this—the rÔle in which I am studying to perfect myself—I predict that I shall achieve a dazzling success.” He drew out a green Russia-leather cigarette case, adorned with a monogram in diamonds. “It is permitted that one smokes?” he added, and immediately lighted up.

“It is permitted, if I am to have one also.”

The De Melzi stretched a white, bejeweled hand out, and the seething Alberto, under pain of appearing openly impolite, was forced to comply. “No, I will not take the cigarette you point out,” said the saucy prima donna, as the tenor extended the open case. “It might disagree with me, who knows? and I have predicted that in the part of Elsa to-morrow night at Smutchester I shall achieve a ‘dazzling success.’” And she smiled with brilliant malice upon Alberto Fumaroli, who played Lohengrin. “They are discriminating—the audiences of that big, black, melancholy place—they never mistake geese for swans.”

“Ach, no!” said the Impresario, looking up from his tatting—he was engaged upon a green silk purse for Madame Da Capo, a wrinkled little doll of an old lady with whom he was romantically in love. “They will not take a dournure, some declamation, and half a dozen notes in the upper register bour dout botage. Sing to them well, they will be ready to give you their heads. But sing to them badly, and they will be ready to pelt yours. Twenty years ago they did. I remember a graceless impostor, a ragazzo (foisted upon me for a season by a villain of an agent), who annoyed them in Almaviva.... Ebbene! the elections were in progress—there was a dimonstranza. I can smell those antique eggs, those decomposed oranges, now.”

“Heart’s dearest, thou must not excite thyself,” interrupted Madame; “it is so bad for thee. Play at the poker-game, mes enfants,” she continued, “and leave my good child, my beloved little one, alone!” Saying this, Madame drew from her vast under-pocket a neat case containing an ivory comb, and, removing the fearfully and wonderfully braided traveling cap of the Impresario, fell to combing his few remaining hairs until, soothed by the process, Carlo, who had been christened Karl, fell asleep with his head on Madame’s shoulder; snoring peacefully, despite the screams, shrieks, howls, and maledictions which were the invariable accompaniment of the poker-game.

The train bundled into Smutchester some hours later; a string of cabs conveyed the Impresario, his wife, and the principal members of his company to the Crown Diamonds Hotel. Before he sought his couch that night the revengeful Alberto Fumaroli had interviewed the chef and bribed him with the gift of a box of regalias from the cedar smoking-cabinet of a King, to aid in the carrying-out of the vendetta. Josebattista Funkmuller was not a regal judge of cigars; but these were black, rank, and oily enough to have made an Emperor most imperially sick. Besides, the De Melzi had, or so he declared, once ascribed an indigestion which had ruined, or so she swore, one of her grandest scenas, to an omelette of his making, and the cook was not unwilling that the haughty spirit of the cantatrice should be crushed. His complex nature, his cosmopolitan origin, showed in the plan Josebattista Funkmuller now evolved and placed before the revengeful tenor, who clasped him to his bosom in an ecstasy of delight, planting at the same time a huge, resounding kiss upon both his cheeks.

“It is perfection!” Fumaroli cried. “My friend, it can scarcely fail! If it should, per Bacco! the Fiend himself is upon that insolent creature’s side! But I never heard yet of his helping a woman to resist temptation—oh, mai! it is he who spreads the board and invites Eve.”

And the tenor retired exultant. His sleeping-chamber was next door to that of the hated cantatrice. He dressed upon the succeeding morning to the accompaniment of roulades trilled by the owner of the lovely throat to which Fumaroli would so willingly have given the fatal squeeze. And as Fumaroli, completing his frugal morning ablutions by wiping his beautiful eyes and classic temples very gingerly with a damp towel, paused to listen, a smile of peculiar malignancy was only partly obscured by the folds of the towel. But when the tenor and the soprano encountered at the twelve o’clock dÉjeuner, Fumaroli’s politeness was excessive, and his large, dark, brilliant eyes responded to every glance of the gleaming black orbs of De Melzi with a languorous, melting significance which almost caused her heart to palpitate beneath her Parisian corsets. Concealed passion lay, it might be, behind an affectation of enmity and ill-will.

“Mai santo cielo!” exclaimed the stout aunt, to whom the cantatrice subsequently revealed her suspicions, “thou guessest always as I myself have thought. The unhappy man is devoured by a grand passion for my Teresa. He grinds his teeth, he calls upon the saints, he grows more bilious every day, and thou more beautiful. One day he will declare himself——”

“And I shall lose an entertaining enemy, to find a stupid lover,” gurgled Teresa. She was looking divine, her dark beauty glowing like a gem in the setting of an Eastern silk of shot turquoise and purple, fifty yards of which an enamored noble of the Ukraine had thrown upon the stage of the Opera House, St. Petersburg, wound round the stem of a costly bouquet. She glanced in the mirror as she kissed the black nose of her Japanese pug. “Every man becomes stupid after a while,” she went on. “Even Josebattista is in love with me. He sends me a little note written on papier jambon to entreat an interview.”

“My soul!” cried the stout aunt, “thou wilt not deny him?”

The saucy singer shook her head as Funkmuller tapped at the door. One need not give in detail the interview that eventuated. It is enough that the intended treachery of Fumaroli was laid bare. His intended victim laughed madly.

“But it is a cerotto—what the English call a nincompoop,” she gasped, pressing a laced handkerchief to her streaming eyes. “If the heavens were to fall, then one could catch larks; but the proverb says nothing about nightingales.”

She tossed her brilliant head and took a turn or two upon the hotel sitting-room carpet, considering.

“I will keep this appointment,” said she.

“Dio! And risk thy precious reputation?” shrieked the aunt.

hummed the provoking beauty. And she dealt the cook a sparkling glance of such intelligence that he felt Signor Alberto would never triumph. Relieved in mind, Josebattista Funkmuller took his leave.

“I will return the King’s cigars,” he said, as he pressed his garlic-scented mustache to the pearly knuckles of the lady.

“Bah!” said she, “they were won in a raffle at Vienna.”

The door closed upon the disgusted chef, and reopened ten minutes later to admit a waiter carrying upon a salver a pretty three-cornered pink note with a gold monogram in the corner. The writer entreated the inestimable privilege of three minutes’ conversation with Madame de Melzi in a private apartment in the basement of the hotel. He did not propose to visit the prima donna in her own rooms, even under the wing of her aunt, for it was of supreme importance that tongues should not be set wagging. Delicacy and respect prevented him from suggesting an interview in the apartments occupied by himself. On the neutral ground of an office in the basement the interview might take place without comment or interruption. He was, in fact, waiting there for an answer.

The answer came in the person of the singer herself, charmingly dressed and radiant with loveliness.

“Fie! What an underground hole! The window barred, the blank wall of an area beyond it!” Her beautiful nostrils quivered. “Caro mio, you have in that covered dish upon the table there something that smells good. What is under the cover?”

“Look and see!” said the cunning tenor, with a provoking smile.

“I am not curious,” responded Teresa, putting both hands behind her and leaning her back against the door. “Come, hurry up! One of your three minutes has gone by, the other two will follow, and I shall be obliged to take myself off without having heard this mysterious revelation. What is it?” She showed a double row of pearl-hued teeth in a mischievous smile. “Shall I guess? You have, by chance, fallen in love with me, and wish to tell me so? How dull and unoriginal! A vivacious, interesting enemy is to be preferred a million times before a stupid friend or a commonplace adorer.”

“Grazie a Dio!” said the tenor, “I am not in love with you.” But at that moment he was actually upon the verge; and the dull, dampish little basement room, floored with kamptulicon warmed by a grudging little gas-stove, its walls adorned with a few obsolete and hideous prints, its oilcloth-covered table, on which stood the mysterious dish, closely covered, bubbling over a spirit lamp and flanked by a spoon, fork, and plate—that little room might have been the scene of a declaration instead of a punishment had it not been for the De Melzi’s amazing nonchalance. It would have been pleasant to have seen the spiteful little arrow pierce that lovely bosom. But instead of frowning or biting her lips, Teresa laughed with the frankest grace in the world.

“Dear Signor Alberto, Heaven has spared you much. Besides, you are of those who esteem quantity above quality—and, for a certain thing, I should be torn to pieces by the ladies of the Chorus.” She shrugged her shoulders. “Well, what is this mysterious communication? The three minutes are up, the fumes of a gas fire are bad for the throat—and I presume you of all people would not wish me to sing ‘Elsa’ with a veiled voice, and disappoint the dear people of Smutchester, and Messieurs the critics, who say such kind things.”

Alberto Fumaroli’s brain spun round. Quick as thought his supple hand went out; the wrist of the coquettish prima donna was imprisoned as in a vise of steel.

“Ragazza!” he gnashed out, “you shall pay for your cursed insolence.” He swung the cantatrice from the door, and Teresa, noting the convulsed workings of his Corsican features, and devoured by the almost scorching glare of his fierce eyes, felt a thrill of alarm.

“OimÈ! Signor,” she faltered, “what do you mean by this violence? Recollect that we are not now upon the stage.”

A harsh laugh came from the bull throat of the tenor.

he hummed. But his Elsa did not entreat to flow about his feet like the river, or kiss them like the flowers blooming amidst the grasses he trod. Struggling in vain for release from the rude, unchivalrous grasp, an idea came to her; she stooped her beautiful head and bit Lohengrin smartly on the wrist, evoking, instead of further music, a torrent of curses; and as Alberto danced and yelled in agony, she darted from the room. With the key she had previously extracted she locked the door; and as her light footsteps and crisping draperies retreated along the passage, the tenor realized that he was caught in his own trap. Winding his handkerchief about his smarting wrist, he bestowed a few more hearty curses upon Teresa, and sat down upon a horsehair-covered chair to wait for deliverance. They could not possibly give “Lohengrin” without him—there was no understudy for the part. For her own sake, therefore, the De Melzi would see him released in time to assume the armor of the Knight of the Swan. Ebbene! There was nothing to do but wait. He looked at his watch, a superb timepiece encrusted with brilliants. Two o’clock! And the opera did not commence until eight. Six hours to spend in this underground hole, if no one came to let him out. Patience! He would smoke. He got over half an hour with the aid of the green cigarette-case. Then he did a little pounding at the door. This bruised his tender hands, and he soon left off and took to shouting. To the utmost efforts of his magnificent voice no response was made; the part of the hotel basement in which his prison happened to be situated was, in the daytime, when all the servants were engaged in their various departments, almost deserted. Therefore, after an hour of shouting, Fumaroli abandoned his efforts.

What was to be done? He could take a siesta, and did, extended upon two of the grim horsehair chairs with which the apartment was furnished. He slept excellently for an hour, and woke hungry.

Hungry! Diavolo! with what a raging hunger—an appetite of Gargantuan proportions, sharpened to the pitch of famine by the bubbling gushes of savory steam that jetted from underneath the cover of the mysterious dish still simmering over its spirit-lamp upon the table! He knew what that dish contained—his revenge, in fact. Well, it had missed fire, the vendetta. He who had devised the ordeal of temptation for Teresa found himself helpless, exposed to its fiendish seductions. Not that he would be likely to yield, oh mai! was it probable? He banished the idea with a gesture full of superb scorn and a haughty smile. Never, a thousand times never! The cunning Teresa should be disappointed. That evening’s performance should be attacked by him as ever, fasting, the voice of melody, the sonorous lungs, supported by an empty frame. Cospetto! how savory the smell that came from that covered dish! The unhappy tenor moved to the table, snuffed it up in nosefuls, thought of flinging the dish and its contents out of window—would have done so had not the window been barred.

“After all, perhaps she means to keep me here all night,” he thought, and rashly lifted the dish-cover, revealing a vast and heaving plain of macaroni, over which little rills of liquid butter wandered. Parmesan cheese was not lacking to the dish, nor the bland juices of the sliced tomato, and, like the violet by the wayside, the modest garlic added its perfume to the distracting bouquet. Fumaroli was only human, though, as a tenor, divine. He had been shut up for four hours, fasting, in company with a dish of macaroni.... Ah, Heaven! he could endure no longer.... He drew up a chair, grasped fork and spoon—fell to. In the act of finishing the dish, he started, fancying that the silvery tinkle of a feminine laugh sounded at the keyhole. But his faculties were dulled by vast feeding; his anger, like his appetite, had lost its edge. With an effort he disposed of the last shreds of macaroni, the last trickle of butter; and at seven o’clock a waiter, who accidentally unlocked the door of the basement room, awakened a plethoric sleeper from heavy dreams.

“To the Opera House,” was the listless direction he gave the driver of his hired brougham; as one in a dream he entered by the stage-door, and strode to his room.

The curtain had already risen upon grassy lowlands in the neighborhood of Antwerp. Henry, King of Germany, seated under a spreading canvas oak, held court with military pomp. Frederic of Telramond, wizard husband of Ortrud, the witch, had stepped forward to accuse Elsa of the murder of her brother, Gottlieb; the King had cried, “Summon the maid!” and in answer to the command, amidst the blare of brass and the clashing of swords, the De Melzi, draped in pure white, followed by her ladies, and looking the picture of virginal innocence, moved dreamily into view:

Ah! had those who listened to the thrilling strains that poured from those exquisite lips but guessed, as Elsa described the appearance of her dream-defender, her shining Knight, and sank upon her knees in an ecstasy of passionate prayer, that the celestial deliverer was at that moment gasping in the agonies of indigestion!

entreated the maiden; and amidst the exclamations of the eight-part chorus the swan-drawn bark approached the bank; the noble, if somewhat fleshy, form of Alberto Fumaroli, clad from head to foot in silvery mail, stepped from it.... With lofty grace he waved his adieu to the swan, he launched upon his opening strain of unaccompanied melody.... Alas! how muffled, how farinaceous those once clarion tones!... In labored accents, amid the growing disappointment of the Smutchester audience, Lohengrin announced his mission to the King. As he folded the entranced Elsa to his oppressed bosom, crying:

“She-devil, you have ruined me!” he hissed in the De Melzi’s ear.

Teresa trilled in answer. And raising her love-illumined, mischievously dancing eyes to her deliverer, breathed in his ear: “Try pepsin!”