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Love Affairs of the Courts of Europe

<h2>CHAPTER XIII</h2> <h2>THE ENSLAVER OF A KING</h2> <div style="text-align: center;"><img style="width: 298px; height: 392px;" alt="Lola Montez, Countess of Landsfeld." title="Lola Montez, Countess of Landsfeld." src="images/court006.jpg"> <h5>LOLA MONTEZ, COUNTESS OF LANDSFELD.</h5></div> More than fifty years have gone since the penitent soul of Lola Montez took flight to its Creator; but there must be some still living whose pulses quicken at the very mention of a name which recalls so much mystery and romance and bewildering fascination of the days when, for them, as for her, "all the world was young." Who was she, this woman whose beauty dazzled the eyes and whose witchery turned the heads of men in the forties and fifties of last century? A dozen countries, from Spain to India, were credited with her birth. Some said she was the daughter of a noble house, kidnapped by gipsies in her infancy; others were equally confident that she had for father the coroneted rake, Lord Byron, and for mother a charwoman. Her early years were wrapped in a mystery which she mischievously helped to intensify by declaring that her father was a famous Spanish toreador. Her origin, however, was prosaic enough. She was the daughter of an obscure army captain, Gilbert, who hailed from Limerick; her mother was an Oliver, from whom she received her strain of Spanish blood; and the names given to her at a Limerick font, one day in 1818, two months after her parents had made their runaway match, were Marie Dolores Eliza Rosanna. When Captain Gilbert returned, after his furlough-romance, to India, he took his wife and child with him. Seven years later cholera removed him; his widow found speedy solace in the arms of a second husband, one Captain Craigie; and Dolores was packed off to Scotland to the care of her stepfather's people until her schooldays were ended. In the next few years she alternated between the Scottish household, with its chilly atmosphere of Calvinism, and schools in Paris and London, until, her education completed, she escaped the husband, a mummified Indian judge, whom her mother had chosen for her, by eloping with a young army officer, a Captain James, and with him made the return voyage to India. A few months later her romance came to a tragic end, when her Lothario husband fell under the spell of a brother-officer's wife and ran away with her to the seclusion of the Neilgherry Hills, leaving his wife stranded and desolate. And thus it was that Dolores Gilbert wiped the dust of India finally off her feet, and with a cheque for a thousand pounds, which her good-hearted stepfather slipped into her hand, started once more for England, to commence that career of adventure which has scarcely a parallel even in fiction. She had had more than enough of wedded life, of Scottish Calvinism, and of a mother's selfish indifference. She would be henceforth the mistress of her own fate. She had beauty such as few women could boast—she had talents and a stout heart; and these should be her fortune. Her first ambition was to be a great actress; and when she found that acting was not her forte she determined to dance her way to fame and fortune, and after a year's training in London and Spain she was ready to conquer the world with her twinkling feet and supple body. Of her first appearance as a danseuse, before a private gathering of Pressmen, we have the following account by one who was there: "Her figure was even more attractive than her face, lovely as the latter was. Lithe and graceful as a young fawn, every movement that she made seemed instinct with melody. Her dark eyes were blazing and flashing with excitement. In her pose grace seemed involuntarily to preside over her limbs and dispose their attitude. Her foot and ankle were almost faultless." Such was the enthusiastic description of Lola Montez (as she now chose to call herself) on the eve of her bid for fame as a dancer who should perhaps rival the glories of a Taglioni. A few days later the world of rank and fashion flocked to see the début of the danseuse whose fame had been trumpeted abroad; and as Lola pirouetted on to the stage—the focus of a thousand pairs of eyes—she felt that the crowning moment of her life had come. Almost before her twinkling feet had carried her to the centre of the stage an ominous sound broke the silence of expectation. A hiss came from one of the boxes; it was repeated from another, and another. The sibilant sound spread round the house; it swelled into a sinister storm of hisses and boos. The light faded out of the dancer's eyes, the smile from her lips; and as the tumult of disapprobation rose to a deafening climax the curtain was rung down, and Lola rushed weeping from the stage. Her career as a dancer, in England, had ended at its birth. But Lola Montez was not the woman to sit down calmly under defeat. A few weeks later we find her tripping it on the stage at Dresden, and at Berlin, where the King of Prussia himself was among her applauders. But such success as the Continent brought her was too small to keep her now deplenished purse supplied. She fell on evil days, and for two years led a precarious life—now, we are told, singing in Brussels streets to keep starvation from her side, now playing the political spy in Russia, and again, by a capricious turn of fortune's wheel, being fêted and courted in the exalted circles of Vienna and Paris. From the French capital she made her way to Warsaw, where stirring adventures awaited her, for before she had been there many days the Polish Viceroy, General Paskevitch, cast his aged but lascivious eyes on her young beauty and sent an equerry to desire her presence at the palace. "He offered her" (so runs the story as told by her own lips) "the gift of a splendid country estate, and would load her with diamonds besides. The poor old man was a comic sight to look upon—unusually short in stature; and every time he spoke he threw his head back and opened his mouth so wide as to expose the artificial gold roof of his palate. A death's head making love to a lady could not have been a more horrible or disgusting sight. These generous gifts were most respectfully and very decidedly declined." But General Paskevitch was not disposed to be spurned with impunity. The contemptuous beauty must be punished for her scorn of his wooing; and, when she made her appearance on the stage the same night it was to a greeting of hisses by the Viceroy's hirelings. The next night brought the same experience; but when on the third night the storm arose, "Lola, in a rage, rushed down to the footlights and declared that those hisses had been set at her by the director, because she had refused certain gifts from the old Prince, his master. Then came a tremendous shower of applause from the audience, and the old Princess, who was present, both nodded her head and clapped her hands to the enraged and fiery little Lola." A tumultuous crowd of Poles escorted her to her lodgings that night. She was the heroine of the hour, who had dared to give open defiance to the hated Viceroy. The next morning Warsaw was "bubbling and raging with the signs of an incipient revolution. When Lola Montez was apprised of the fact that her arrest was ordered she barricaded her door; and when the police arrived she sat behind it with a pistol in her hand, declaring that she would certainly shoot the first man who should dare to break in." Fortunately for Lola, her pistol was not used. The French Consul came to her rescue, claiming her as a subject of France, and thus protecting her from arrest. But the order that she should quit Warsaw was peremptory, and Warsaw saw her no more. Back again in Paris, Lola found that even her new halo of romance was powerless to win favour for her dancing. Again she was to hear the storm of hisses; and this time in her rage "she retaliated by making faces at her audience," and flinging parts of her clothing in their faces. But if Paris was not to be charmed by her dainty feet it was ready to yield an unstinted homage to her rare beauty and charm. She found a flattering welcome in the most exclusive of salons; the cleverest men in the capital confessed the charm of her wit and surrounded her with their flatteries. M. Dujarrier, the most brilliant of them all, young, rich, and handsome, fell head over ears in love with her and asked her to be his wife. But the cup of happiness was scarcely at her lips before it was dashed away. Dujarrier was challenged to a duel by Beauvallon, a political enemy; and when Lola was on her way to stop the meeting she met a mournful procession bringing back her dead lover's body, on which she flung herself in an agony of grief and covered it with kisses. At the subsequent trial of Beauvallon she electrified the Court by declaring with streaming eyes, "If Beauvallon wanted satisfaction I would have fought him myself, for I am a better shot than poor Dujarrier ever was." And she was probably only speaking the truth, for her courage was as great as the love she bore for the victim of the duel. As a child Lola had shocked her puritanical Scottish hosts by declaring that "she meant to marry a Prince," and unkindly as fate had treated her, she had by no means relinquished this childish ambition. It may be that it was in her mind when, a year and a half after the tragedy that had so clouded her life in Paris, she drifted to Munich in search of more conquests. Now in the full bloom of her radiant loveliness—"the most beautiful woman in Europe" many declared—mingling the vivacity of an Irish beauty with the voluptuous charms of a Spaniard—she was splendidly equipped for the conquest of any man, be he King or subject; and Ludwig I., King of Bavaria, had as keen an eye for female beauty as for the objects of art on which he squandered his millions. It was this Ludwig who made Munich the fairest city in all Germany, and who enriched his palace with the finest private collection of pictures and statues that Europe can boast. But among all his treasures of art he valued none more than his gallery of portraits of fair women, each of whom had, at one time or another, visited his capital. Such was Ludwig, Bavaria's King, to whom Lola Montez now brought a new revelation of female loveliness, to which his gallery could furnish no rival. At first sight of her, as she danced in the opera ballet, he was undone. The next day and the next his eyes were feasting on her charms and her supple grace; and within a week she was installed at the Court and was being introduced by His Majesty as "my best friend." And not only the King, but all Munich was at the feet of the lovely "Spaniard"; her drives through the streets were Royal progresses; her receptions in the palace which Ludwig presented to her were thronged by all the greatest in Bavaria; on Prince and peasant alike she cast the spell of her witchery. As for Ludwig, connoisseur of the beautiful, he was her shadow and her slave, showering on her gifts an Empress might well have envied. Fortune had relented at last and was now smiling her sweetest on the adventuress; and if Lola had been content with such triumphs as these the story of her later life might have been very different. But she craved power to add to her trophies, and aspired to take the sceptre from the weak hand of her Royal lover. Never did woman make a more fatal mistake. On the one hand was arrayed the might of Austria and of Rome, whose puppet Ludwig was; on the other hand was a nation clamouring for reforms. Revolution was already in the air, and it was reserved to this too daring woman to precipitate the storm. Her first ambition was to persuade Ludwig to dismiss his Ministry, to shake himself free from foreign influence, and to inaugurate the era of reform for which his subjects were clamouring. In vain did Austria try to win her to its side by bribes of gold (no less than a million florins) and the offer of a noble husband. To all its seductions Lola turned as deaf an ear as to the offers of Poland's Viceroy. And so strenuous was her championship of the people that the Cabinet was compelled to resign in favour of the "Lola Ministry" of reformers. So far she had succeeded, but the price was still to pay. The reactionaries, supported by Austria and the Romish Church, were quick to retaliate by waging remorseless war against the King's mistress; and, among their most powerful weapons, used the students' clubs of Munich, who, from being Lola's most enthusiastic admirers, became her bitterest enemies. To counteract this move Lola enrolled a students' corps of her own—a small army of young stalwarts, whose cry was "Lola and Liberty," and who were sworn to fight her battles, if need be, to the death. Thus was the fire of revolution kindled by a woman's vanity and lust of power. Students' fights became everyday incidents in the streets of Munich, and on one occasion when Lola, pistol in hand, intervened to prevent bloodshed, she was rescued with difficulty by Ludwig himself and a detachment of soldiers. The climax came when she induced the King to close the University for a year—an autocratic step which aroused the anger not only of every student but of the whole country. The streets were paraded by mobs crying, "Down with the concubine!" and "Long live the Republic!" Barricades were erected and an influential deputation waited on the King to demand the expulsion of the worker of so much mischief. In vain did Ludwig declare that he would part with his crown rather than with the Countess of Landsfeld—for this was one of the titles he had conferred on his favourite. The forces arrayed against him were too strong, and the order of expulsion was at last conceded. It was only, however, when her palace was in flames and surrounded by a howling mob that the dauntless woman deigned to seek refuge in flight, and, disguised as a boy, suffered herself to be escorted to the frontier. Two weeks later Ludwig lost his crown. The remainder of this strange story may be told in a few words. Thrown once more on the world, with a few hastily rescued jewels for all her fortune, Lola Montez resumed her stage life, appearing in London in a drama entitled "Lola Montez: or a Countess for an Hour." Here she made a conquest of a young Life Guardsman, called Heald, who had recently succeeded to an estate worth £5000 a year; and with him she spent a few years, made wretched by continual quarrels, in one of which she stabbed him. When he was "found drowned" at Lisbon she drifted to Paris, and later to the United States, which she toured with a drama entitled "Lola Montez in Bavaria." There she made her third appearance at the altar, with a bridegroom named Hull, whom she divorced as soon as the honeymoon had waned. Thus she carried her restless spirit through a few more years of wandering and growing poverty, until a chance visit to Spurgeon's Tabernacle revolutionised her life. She decided to abandon the stage and to devote the remainder of her days to penitence and good works. But the end was already near. In New York, where she had gone to lecture, she was struck down by paralysis, and a few weeks before she had seen her forty-second birthday she died in a charitable institution, joining fervently in the prayers of the clergyman who was summoned to her death-bed. "When she was near the end, and could not speak," the clergyman says, "I asked her to let me know by a sign whether she was at peace. She fixed her eyes on mine and nodded affirmatively. I do not think I ever saw deeper penitence and humility than in this poor woman." <img style="width: 282px; height: 408px;" alt="Ludwig I., King of Bavaria." title="Ludwig I., King of Bavaria." src="images/court007.jpg"> <h5>LUDWIG I., KING OF BAVARIA.</h5> <hr style="height: 2px; width: 35%;"> <div style="break-after:column;"></div>

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