Writer 1879: Solitary Journey in France

Chapter 344: Challenges and Betrayals of Secular Ethics

Inside the box, Émile Perrin, the director of the Comédie-Française, wiped the fine sweat from his brow and let out a long sigh of relief.

Several heavyweight critics around him, such as a senior theater critic from Le Figaro, were excitedly talking to each other, clearly deeply moved by the play.

Jules Claretti of Le Figaro said to Émile Perrin: "Unbelievable! You and Mr. Sorel have done a remarkable thing!"

The pacing, the dialogue, the performance…it completely subverted theatrical traditions! It took my breath away, like being trapped in that luxurious living room!

Another critic from The Age added: "Especially Marcel, the worker, whose appearance elevated the entire play."

This is not merely a domestic dispute; it's a microcosm of society! Mr. Sorel certainly lived up to expectations!

In another box, Lionel sat quietly, his face revealing neither joy nor sorrow.

The other people in the box—Sophie, Alice, and Patty—were all glued to the performance on stage, completely forgetting that he was there beside them.

He also heard the surrounding discussions, the occasional bursts of applause, and saw how the audience was completely engrossed in the plot.

He knew that "Thunderstorm" had begun to conquer the most discerning Parisian audiences across Europe.

On stage, after Guillaume persuades Marcel to leave, the conversation between father and daughter continues.

The sweltering, stagnant air made the beads of sweat on Fanny's forehead glisten slightly under the lights—a detail that audiences hadn't seen before.

She was breathing heavily, both frightened and somewhat disbelieving of her father's stories about "ghosts".

Fanny (panting): What did you see? Daddy, tell me!
Guillaume (with a boastful tone): I drank two glasses of absinthe, and my head was spinning. I sneaked through the rose bushes behind the manor and slipped into the corridor outside this door.

At that moment, I heard a mournful sound coming from inside the house, like a female ghost crying. It was a terrible cry! The more frightened I became, the more I wanted to see.

I steeled myself and peeked through the crack in the door...

The audience was completely silent; even the sound of fans waving stopped.

Everyone was drawn into that eerie night by Guillaume's mysterious tone.

Guillaume (pointing to a small table beside the fireplace): On that tortoiseshell-inlaid table, there was a candle that was about to go out.

I vaguely saw two dark figures sitting side by side, their backs to me. The female ghost was leaning against the male ghost, crying, while the male ghost was sighing with his head down.

Fanny (voice trembling): Ah? This house is really haunted...

Guillaume: You're right? I just coughed lightly through the crack in the window, taking advantage of the alcohol.

Suddenly, the two ghosts separated and looked in my direction—their faces were now clearly facing me, and I was truly seeing a ghost!

Fanny (nervously): A ghost? What does it look like? (She glances around instinctively) Who is it?
Guillaume: That's when I saw the ghost! It's our lady, Madame Madeleine!
Fanny (incredulously): Madam?! Where is the man?

Guillaume: Don't be afraid of that male ghost—it's the eldest young master, Edward!

Fanny (as if struck by lightning): Him?!
Guillaume: It's him! He and his stepmother—Mrs. Madeleine—are haunting this house!

"Boom—!" As soon as Guillaume finished speaking, the entire Richelieu Hall erupted in chaos.

All the previous speculations and ambiguous chuckles were shattered by this naked and shocking truth.

A noblewoman cried out in alarm, "My God! Stepson and stepmother!"

She covered her mouth with a handkerchief, her eyes wide open.

An old, conservative gentleman slammed his cane on the ground: "Shameless! Morally depraved!"

His face turned pale with anger: "This...this is outrageous! The Laverne family...is a disgrace to France!"

One commentator exclaimed excitedly to his companion, "I knew it! Sorel is a madman; he never plays by the rules!"

The companion's voice was also filled with barely suppressed excitement: "It's so shocking! A stepmother and stepson, and they're even consensual! This is even more direct than 'Lucretia Borgia'!"

"Lucretia Borgia" is Victor Hugo's famous play, published in 1833, which caused a sensation in Paris at the time.

It involves a mother and child having sex without the mother's knowledge, but that's more of a tragedy caused by the cruel twist of fate and misunderstanding. It's an "Oedipal" tragedy, within the realm of what the French find acceptable.

Even though illicit affairs between "stepsons" and "stepmothers" often occur in reality, they are something that cannot be mentioned.

Guillaume's description in "Thunderstorm" clearly shows that Edward and Madame Madeleine are conscious and actively "haunted".

This is a blatant challenge and betrayal of worldly ethics!

How did this script pass the police station's review?

"What about the church? Didn't they receive the script?"

"God! I need to go to church to pray tomorrow..."

……

The murmurs, condemnations, and gasps of astonishment mingled together, creating a buzzing sound that nearly lifted the dome of the comedy theater.

Some of the women were pale and kept fanning themselves, as if they needed more air.

One woman, whose corset was too tight, fainted from the intense excitement of the scene, causing a minor commotion.

A sharp voice rang out from the audience, filled with anger: "This is immoral! It's blasphemy!"

But others held a different view, whispering amidst the commotion: "But...why? Why would Mrs. Madeleine do this? She's in this house..."

Just then someone shouted, "Look! Fanny! She doesn't seem to believe it!"

The audience's attention was immediately drawn back to the stage.

Fanny on stage was in a state of extreme shock and resistance.

Fanny (shaking her head vigorously): No, no, he wouldn't do that!

Guillaume: You forgot, young master Edward is only six or seven years younger than Mrs. Madeleine.

Fanny: I don't believe it! No, it doesn't seem like it!
Guillaume: Okay, believe it or not, it's up to you. Anyway, let me tell you first, your wife's temper isn't quite right with you right now, and it's because of you, because of you and—

Fanny (interrupting urgently): Madam knows you were peeking at the door, she will definitely not forgive you!

Guillaume: Yes, I was terrified. I ran away before they came out.

...]

Guillaume's account confirms this shocking scandal.

The audience had extremely complex expectations for "Madame Madeleine," who had not yet appeared but was already shrouded in the shadow of "**".

What kind of woman is she? Is she a licentious, shameless, and wicked woman?
Just then, light footsteps came from the stairs on the side of the stage, and the lights there turned on at the right time.

All the whispers instantly ceased, and the audience held their breath, their eyes fixed on the top of the spiral staircase.

A figure slowly appeared under the light—

She wore a deep purple silk dress, elegant in style, which accentuated her slender figure; her hair was meticulously combed, but her face was so pale that it was almost bloodless.

She is Lady Madeleine, played by Sarah Bernhardt, one of the most popular actresses of our time.

The legendary actress's beautiful figure was on full display on the high staircase, making her appear far more noble and elegant than when she used to make an entrance through a "painted" door.

This appearance alone made everyone feel that the money spent on the "two-story" Comédie-Française was well worth it!

She walked down the stairs slowly and weakly, yet gracefully, each step seemingly touching the hearts of the audience.

The entire auditorium in the theater was muted.

(Only two updates tonight, more tomorrow. Goodnight everyone.)

(End of this chapter)