In the next scene, Jean Bart's frigate did battle with a larger English one, and there was a lot of swinging from ropes and fake swordplay, which Bart did very well. Just as he was about to grasp the laurels of victory, angry Neptune appeared and, with a thrust of his trident and a roar of kettledrums, transformed Bart into a cat (effected by Bart's putting on a mask while everyone was distracted by the histrionics of the sea-god). Because cats cannot give orders and are averse to water, this threw his men into disarray and they were all captured by the English.
The next scene took place far upstage, on the English shore, where the French sailors were pent up in a prison in Plymouth, gazing out barred windows across the Channel and pining, at considerable length, for France. This was by far the dullest part of the production and gave many a Countess an opportunity to powder her nose; but the upshot was that the mermaid, hearing their dirge, and spying the valiant French corsairs imprisoned through no fault of their own, begged her father to undo the spell he had laid on Jean Bart. Which was grudgingly done, though not until Bart, in his smaller, feline form, had slipped out between the bars of his cell and scampered onto the beach. Changed back into a man, he climbed into a rowboat, shoved it off the beach of Plymouth, and rowed to France.
When Jean Bart had achieved this feat for real, a few months ago, it had taken him fifty-two hours. That was compressed into about a quarter of an hour here. The passage of two days, two nights, and four hours was suggested as follows: Apollo, in a golden chariot suspended from an overhead track by wires, appeared low in the east (stage left); traversed the entire stage in a great arc, singing an aria all the while; and set low in the west (stage right) just as his sister Diana was being launched from stage left in a silver chariot. When she set in the west, Apollo reappeared (for his chariot had been unhooked and rushed around the back of the château) at stage left again, and sang through the second day of Jean Bart's epic row. Then Diana sang through the second night. During the first day and night, Apollo and Diana respectively mocked the poor figure below them, refusing to believe at first that anyone would have the stupid-ity or hubris to row a boat from Plymouth to France. During the second day and night, they literally changed their tunes: Astounded to see that Jean Bart was still alive, and still hauling on those oars, they began to sing his praises and to cheer him on.
It concluded at the end of the second night with Diana setting at stage right, Apollo rising at the left, and Jean Bart center stage, desperately trying to row the last mile or so to freedom. Apollo and Diana sang a duet, urging him on; and finally Neptune (who had perhaps had enough of their caterwauling) popped out of the waves, sang an additional stanza about what a magnificent chap Jean Bart was, and, raising his trident, ordered that the waves of the sea escort this hero safely back to shore. Which they did, in the form of four dancers painted blue and wearing foamy white caps.
Even this audience, which included some of the most jaded and cynical persons on the face of the earth, could hardly keep a dry eye as Jean Bart finally staggered up onto the beach where it had all started, accompanied by a flood tide of patriotic music; but just as the party-goers were erupting in an ovation, yet another god descended from the rafters, dressed in gold, brandishing a lightning-bolt, and crowned with a laurel-wreath: yes, Jupiter himself, but all bedizened with French touches to make of him a hybrid of France with the King of the Gods; or rather, to imply that there was no substantive difference. Apollo, Diana, and Neptune were amazed, and did obeisance; the insouciant Jean Bart favored Jupiter with a courtly Versailles bow. Jupiter had come to make his ruling, which was that Jean Bart did indeed deserve to be subjected to a metamorphosis: but of a rather different sort than being turned into a cat. He handed down a package in golden paper, crowned with a laurel wreath, and Mercury took it from his hand, pranced about for a while in a gratuitous solo, and delivered it to Jean Bart, setting the laurel wreath on Bart's head. Lieutenant Bart opened the package. Out tumbled a bolt of red. He held it up, and it unfurled: the long red coat and red breeches of a Captain in the French Navy.
The rigging that held the various Gods and Goddesses in the firmament now went into creaking and groaning movement, pulling those Olympian figures up or away so that Jean Bart was left alone on the stage to receive an ovation from the crowd. He hugged the uniform to his chest, turned stage right, and bowed very low to the King. This caused the laurel wreath to fall from his head. He snatched it just before it struck the floor and everyone in the room said, "Oh!" at once. Then, seized by an idea, he straightened up and tossed the wreath directly at Louis XIV, who did not fail to catch it. Everyone in the room said, "Ah!" The King, not the least bit discomposed, raised the laurel to his lips and kissed it, eliciting a great cheer from the assembled nobles of Versailles. For that moment, everything in France was perfect.
MUCH MORE HAPPENED at the soirée, but it all felt like an afterthought to the masque. Captain Jean Bart lost no time changing into his red uniform; then he danced all night, with every lady in the house. Eliza for once in her life was flummoxed by the intensity of the competition; for in order to dance with Captain Bart, one had to be asked by him, which meant that one had to be able to see, or at least hear him; and at the end of each number the man in red was immediately walled up in a rampart of pretty silk and satin gowns, as all of the hopeful girls—most of whom were taller than Bart—crowded around him, hoping to catch his eye. Eliza was petite and hopelessly shut out. Moreover, she had some obligations as hostess. The Duchess had granted her leave to add some names to the guest list. Eliza had invited four minor courtiers and their wives: all petty nobles of northern France who had loaned money to the Treasury and built fortifications along the Channel coast. They had done so precisely in the hope that it would lead to their being invited to parties such as this one. Now their schemes had come to fruition; but they looked to Eliza to manage some of the details, such as introductions. Each of them had recently had an audience with Pontchartrain and received a loan document similar to Eliza's, albeit with a smaller amount inscribed upon it; each now phant'sied that this would entitle him to spend the entire evening following Pontchartrain around as full and equal participant in any conversation the contrôleur-général might become engaged in. In order to remain in the Count's good graces, Eliza had to track them around the château and snatch them away on some pretext or other whenever they started to annoy their betters. This was work enough for a single evening; but, too, it was expected that she would dance at least twice with Étienne, as his titular girlfriend. And since she had jerked him off in the sleigh, it would have been poor form not to dance at least one time with Rossignol.
Rossignol danced like a cryptanalyst: perfectly, but with little self-expression. "You did not understand the soap conversation," he said to her.
"Monsieur, was it that obvious? Please explain it to me!"
"During the time of the poisonings, ten years ago, where do you suppose all of those ambitious courtiers got their arsenic? Not by their own labors certainly, for they are helpless in practical matters. Not from Alchemists, for those style themselves holy men. Who, other than Alchemists, has mortars and pestles, vats, retorts, and ways of getting exotic ingredients?
"Soap-makers!" Eliza exclaimed, and felt herself blushing.
"Some laundresses wore gloves in those days," said Rossignol, "because their mistresses would have them go into Paris and buy soap that was loaded with arsenic. They would wash the husband's clothing in that soap, and he would absorb the poison through his skin. And so for a Duchess to make her own soap, on her own estate, is more than just a quaint tradition. It is a way for her to protect herself and those she loves. When she offers you, mademoiselle, the use of her soap, and of her laundry, it means two things: first, that she has true affection for you, and second, that she fears someone might wish you ill."