The Count of Monte Cristo

The Minister’s Box

On this particular night, the minister’s box happens to be placed at the disposal of Lucien Debray, who offers it to the Comte de Morcerf. Morcerf, upon its rejection by Mercédès, sends it onward to Danglars, with an intimation that he may do himself the honor of joining the baroness and her daughter during the evening, should they accept. The ladies receive the offer with too much pleasure to dream of refusing. To no class of person is a gratuitous opera-box more acceptable than to the wealthy millionaire who still hugs economy while boasting of carrying a king’s ransom in his waistcoat pocket.

Danglars’ Refusal

Danglars protests against showing himself in a ministerial box, declaring that his political principles and his parliamentary position as a member of the opposition party will not permit him to commit himself in such a manner. The baroness therefore despatches a note to Lucien Debray, bidding him call for them, since it is wholly impossible for her to go alone with Eugénie to the opera. A very unfavorable construction would have been put upon the circumstance if the two women had gone without escort, but the addition of a third person in the form of her mother’s admitted lover enables Mademoiselle Danglars to defy malice and ill-nature—one must take the world as one finds it.

The Curtain Rises

The curtain rises, as usual, to an almost empty house, it being one of the absurdities of Parisian fashion never to appear at the opera until after the beginning of the performance. The first act is generally played without the slightest attention being paid to it, the portion of the audience already assembled being too much occupied in observing fresh arrivals, while nothing is heard but the noise of opening and shutting doors and the buzz of conversation. Fashion’s indifference to art contrasts sharply with the splendor of the gathering taking shape in the boxes and stalls.

The Countess G——

As the door of a box on the first circle opens, Albert declares that it must be the Countess G——, prompting Château-Renaud to inquire who she is. Albert pretends to be on the verge of picking a quarrel for the question, since all the world ought to know who she is. Château-Renaud recovers himself, naming her as the lovely Venetian. The countess, perceiving Albert, returns his salutation with a smile, and Albert explains that Franz introduced him to her at Rome, readily offering to do the same for Château-Renaud in Paris. A cry of “Shut up!” from the audience produces no effect on the two young men, who continue their conversation undisturbed.

The Mysterious Race Winner

Château-Renaud remarks that the countess was present at the races in the Champ-de-Mars that day, and Albert confesses he had quite forgotten the races. Château-Renaud bet a paltry fifty louis on Nautilus and won, but the real curiosity concerns the prize given by the Jockey Club—a gold cup won by a horse and rider utterly unknown on the course. A splendid roan, entered under the name of Vampa, mounted by a jockey styled Job and no bigger than a fist, appeared at the last moment and outstripped Ariel and Barbare by at least three whole lengths, even after twenty pounds of shot had been stuffed into the small rider’s pockets to make weight. No one could discover to whom horse or jockey belonged, but Albert claims to be better informed than his friend.

Madame Danglars Arrives

The door of the minister’s box opens, and Madame Danglars, accompanied by her daughter, enters, escorted by Lucien Debray, who assiduously conducts them to their seats. Château-Renaud draws Albert’s attention to the party, asking whether he is not catching the baroness’s eye. Albert turns in time to receive a gracious wave of the fan from the baroness, while Mademoiselle Eugénie scarcely vouchsafes to waste the glances of her large black eyes even upon the business of the stage. The Danglars’ arrival is duly registered as a social event by the young men below.