第44章 M. Robert-Houdin(8)

On the 28th of October, the day appointed for my first performance before the Arabs, I reached my post at an early hour, and could enjoy the sight of their entrance into the theater.

Each goum,[1] drawn up in companies, was introduced separately, and led in perfect order to the places chosen for it in advance. Then came the turn of the chiefs, who seated themselves with all the gravity becoming their character.

[1] Brigade of native soldiers under French command. It was this influential native faction that the Foreign Office wished particularly to impress, through Robert-Houdin's skill.--EDITOR.

Their introduction lasted some time, for these sons of nature could not understand that they were boxed up thus, side by side, to enjoy a spectacle, and our comfortable seats, far from seeming so to them, bothered them strangely. I saw them fidgeting about for some time, and trying to tuck their legs under them, after the fashion of European tailors.

The caids, agas, bash-agas, and other titled Arabs, held the places of honor, for they occupied the orchestra stalls and the dress circle.

In the midst of them were several privileged officers, and, lastly, the interpreters were mingled among the spectators, to translate my remarks to them.

I was also told that several curious people, having been unable to procure tickets, had assumed the Arab burnous, and, binding the camel's-hair cord round their foreheads, had slipped in among their new coreligionists.

This strange medley of spectators was indeed a most curious sight.

The dress circle, more especially, presented an appearance as grand as it was imposing. Some sixty Arab chiefs, clothed in their red mantles (the symbol of their submission to France), on which one or more decorations glistened, gravely awaited my performance with majestic dignity.

I have performed before many brilliant assemblies, but never before one which struck me so much as this. However, the impression I felt on the rise of the curtain, far from paralyzing me, on the contrary inspired me with a lively sympathy for the spectators, whose faces seemed so well prepared to accept the marvels promised them. As soon as I walked on the stage, I felt quite at my ease, and enjoyed, in anticipation, the sight I was going to amuse myself with.

I felt, I confess, rather inclined to laugh at myself and my audience, for I stepped forth, wand in hand, with all the gravity of a real Sorcerer. Still, I did not give way, for I was here not merely to amuse a curious and kind public, I must produce a startling effect upon coarse minds and prejudices, for I was enacting the part of a French Marabout.

Compared with the simple tricks of their pretended sorcerers, my experiments must appear perfect miracles to the Arabs.

I commenced my performance in the most profound, I might almost say religious, silence, and the attention of the spectators was so great that they seemed petrified. Their fingers alone moving nervously, played with the beads of their rosaries, while they were, doubtless, invoking the protection of the Most High.

This apathetic condition did not suit me, for I had not come to Algeria to visit a waxwork exhibition. I wanted movement, animation, life in fact, around me.

I changed my batteries, and, instead of generalizing my remarks, I addressed them more especially to some of the Arabs, whom I stimulated by my words, and still more by my actions. The astonishment then gave way to a more expressive feeling, which was soon evinced by noisy outbursts.

This was especially the case when I produced cannon balls from a hat, for my spectators, laying aside their gravity, expressed their delighted admiration by the strangest and most energetic gestures.

Then came--greeted by the same success--the bouquet of flowers, produced instantaneously from a hat; the CORNUCOPIA, supplying a multitude of objects which I distributed, though unable to satisfy the repeated demands made on all sides, and still more by those who had their hands full already; the FIVE-FRANC PIECES, sent across the theater with a crystal box suspended above the spectators.

One trick I should much have liked to perform was the INEXHAUSTIBLE

BOTTLE, so appreciated by the Parisians and the Manchester "hands"; but I could not employ it in this performance, for it is well known the followers of Mohammed drink no fermented liquor--at least not publicly. Hence, I substituted the following with considerable advantage:

I took a silver cup, like those called "punch bowls" in the Parisian cafes. I unscrewed the foot, and passing my wand through it showed that the vessel contained nothing; then, having refitted the two parts, I went to the center of the pit, when, at my command, the bowl was MAGICALLY filled with sweetmeats, which were found excellent.

The sweetmeats exhausted, I turned the bowl over, and proposed to fill it with excellent coffee; so, gravely passing my hand thrice over the bowl, a dense vapor immediately issued from it, and announced the presence of the precious liquid. The bowl was full of boiling coffee, which I poured into cups, and offered to my astounded spectators.

The first cups were only accepted, so to speak, under protest; for not an Arab would consent to moisten his lips with a beverage which he thought came straight from Shaitan's kitchen; but, insensibly seduced by the perfume of their favorite liquor, and urged by the interpreters, some of the boldest decided on tasting the magic liquor, and all soon followed their example.

The vessel, rapidly emptied, was repeatedly filled again with equal rapidity; and it satisfied all demands, like my inexhaustible bottle, and was borne back to the stage still full.

But it was not enough to amuse my spectators; I must also, in order to fulfill the object of my mission, startle and even terrify them by the display of a supernatural power.