drily, as if unconscious of the humour with which he intended to invest them. Thus, though it might take the audience longer to understand and discover him, they would like him all the better in the end.
True to that resolve, he now played his part as the friend and hired ally of the lovesick Léandre, on whose behalf he came for news of Climène, seizing the opportunity to further his own amour with Columbine and his designs upon the money-bags of Pantaloon. Also he had taken certain liberties with the traditional costume of Scaramouche; he had caused the black doublet and breeches to be slashed with red, and the doublet to be cut more to a peak, à la Henri III. The conventional black velvet cap he had replaced by a conical hat with a turned-up brim, and a tuft of feathers on the left, and he had discarded the guitar.
M. Binet listened desperately for the roar of laughter that usually greeted the entrance of Scaramouche, and his dismay increased when it did not come. And then he became conscious of something alarmingly unusual in Scaramouche's manner. The sibilant foreign accent was there, but none of the broad boisterousness their audiences had loved.
He wrung his hands in despair. "It is all over!" he said. "The fellow has ruined us! It serves me right for being a fool, and allowing him to take control of everything!"
But he was profoundly mistaken. He began to have an inkling of this when presently himself he took the stage, and found the public attentive, remarked a grin of quiet appreciation on every upturned face. It was not, however, until the thunders of applause greeted the fall of the curtain on the first act that he felt quite sure they would be allowed to escape with their lives.
Had the part of Pantaloon in "Les Fourberies" been other than that of a blundering, timid old idiot, Binet would have ruined it by his apprehensions. As it was, those very apprehensions, magnifying as they did the hesitancy and bewilderment that were the essence of his part, contributed
