Read an Excerpt
My soul is going on a trip. I want to talk about her. I want to talk about her.
Why would anyone ever want to talk about anything else?
My soul is a girl: she is just like me. She is fourteen years old
and has been promised in marriage to the French Dauphin, who also has a
soul though more visible and worldly, its body already formed (so I've been
told) from layers of flesh and fat. In France they piss into chamber pots made
of lapis and dine on common garden slugs. In France their hands smell like
vanilla and they shoot their flèches
d'amour indiscriminately in all directions, flowing to their taste for books
pernicious to religion and morals.
My soul is also powerful, but like a young girl it has wishes and
ideas—yes! — a soul can have ideas like a mind does. "Antonia, Antonia,
you must pay attention," I can still hear Abbe Vermond implore me, waving a
book in my face when all I wanted to do was dance dance dance, as if he
actually believed that to be light of heart is the same as being light of head.
We traveled in a carriage coated with glass and lined with pale
blue satin, beautifully swift, magnificently sprung. The end of April and the
clouds compact and quick-moving, the fields turning from pale to deeper
green, and the fruit trees' veiled heads humming with bees. From Vienna to
Molck, from the valley of the Danube to the Castle of Nymphenburg, whose
inhabitants behaved like swine. Bells pealed all along our route and uniformed
men shot off guns; little girls tossed flower petals in our path. The white
horses of the Danube were here one minute, gone the next; one minute we
slipped into the Black Forest's long cool shadows, the next out onto a hot
sunny plain.
"The world where you must pass your life is but transitory," or so
advised my papa from beyond the grave. "There is naught save eternity that is
without end." In my lap I had my dear little pug, the smell of whose ears will
always be sweeter to me than all the perfumes of Araby and the scent of
heliotrope combined.
Twenty thousand horses stabled along the road from Vienna to
Strasbourg—no sooner did one of our steeds begin to lather up and stumble
than it was ground into cat meat and a new one found to take its place.
Serving women, hairdressers, dressmakers, surgeons, furriers, chaplains,
apothecaries, cooks. Each night we managed to consume 150 chickens, 270
pounds of beef, 220 pounds of veal, 55 pounds of bacon, 50 pigeons, 300
eggs.
I was eager to please, though that meant something other than
acquiesce to another's desire. Pleasing meant my own desire: the place
where my body and soul met, like the musician's bow bearing down on the
string, teasing a sound out: ah ah ah ah ah!
My soul thought she'd be happy, and then, one day, she'd die.
But, die.
What does this mean?
One day Antoinette will not exist, though her soul will continue to
flourish.
And WHO IS THAT? WHAT IS THAT?
By the time we stopped for supper at the Abbey of Schuttern I had
no appetite at all, even though the nuns tried tempting me with pilchards and
apricots and kugelhopf; I admit I wept a little. It was the sixth of May; we'd
been on the road for over two weeks. From my bedroom window I could see
the Rhine, which looked wide and flat and the color of lead, and the light on it
looked like the pilchards had, silver and skinny and unappetizing. I heard a
door creak, the sound of footsteps. Angry voices arguing below, fighting over
the wording in the marriage contract, by which I was to be deeded away like
a cottage or a plot of land to the people of France. A fork of lightning over the
Rhine, and the Lorelei's long ghostly arm lifting to meet it . . .
But Mama would never let me get away with such silly thoughts—
I missed her so much I thought I'd die. "You must eat everything on your
plate, Antonia. No picking and choosing. Why have you not eaten all your
fish? How many times must I tell you that the child who gives in to foolish
fears will never amount to much as an adult. Come here, let me take a good
look at you—" peering at me through a magnifying glass. "You seem so
small for your age. How is your health?" Her white white hair and her white
white teeth, one of which she'd had pulled while giving birth to me. Antoinette
and a decayed molar, both of us rejected by my mother's body about eight
o'clock in the evening, All Souls' Day, 1755.
It was getting dark; the moon was coming up over the river. At
home Carlotta would be saying her prayers and Maxie sneaking cheese to
his pet mouse, poor Anna lying there with her hands folded across her chest
like an effigy of herself, unable to stop coughing. Joseph and Christina,
Elizabeth and Karl. Amalia, Leopold, Johanna, Josepha. Mama sitting in her
private apartments, sipping her warm milk and signing state papers. Her head
shorn and the walls draped in black ever since Papa's death, which she
recorded in her prayer book, "Emperor Francis I, my husband, died on the
18th of August at half past nine o'clock. Our happy marriage lasted 29 years,
six months and six days, 1,540 weeks, 10,781 days, 258,774 hours"—
despite his numerous and humiliating infidelities.
At least I had my little pug with me, Gott sei dank! Tomorrow I
would stop speaking German forever, but not tonight. I could see where we
were headed and it was black as pitch.
Goosefoot
The approach to Versailles from the east is through forests of royal hunting
preserves—the Bois de Boulogne, Saint-Cloud, home to wild pigs and guinea
fowl as well as the lesser forms of human life—alternating with stretches of
open farmland. Here the wheat is grown that will be harvested in late summer
and ground into the loaves of bread that will be viewed with "mystical respect"
by the King of France himself.
The baker who bakes bread must do it properly, according to the
legal standard, which states that it shall be made of the best wheat on the
market or within two deniers of that price. And if it is found to be poorly baked
or too small in size, the baker shall pay a fine of five sols and the bread shall
be given to the
poor . . .
The sky is gray. It is raining. The approach to Versailles from the
east is through dense shadowy forests, the branches of the trees heavy and
wet and dripping, and behind every tree a wild animal, a cutpurse, a whore.
No wolves, though—the wolves are all dead and gone, hunted out of
existence by Louis XIII, quite the hungry old wolf himself.
Over the Seine and onto the Avenue de Paris, the centermost
of the three tree-lined roads comprising the famous patte-d'oie, or goosefoot,
that converges at the palace gate. Rain is beading on the gold blade at the
tip of each of the gate's gold rails, beading up and then streaming down to
pool darkly, muddily, on the ground. No matter how frugal the reigning
monarch, there never seems to be enough money. The fountains appear
broken, their basins clogged with debris, and in the gardens several statues
have fallen off their pedestals and are lying on their sides in the wet grass like
drunkards.
A dark morning and overcast, but on the approach to the chateau
no one has lit a single lantern.
The goosefoot was the idea of Le Nôtre, the Sun King's beloved
gardener; he wanted to impress on the landscape the same cross the
architect traces in the soil to indicate the main axes of a building. Versailles
is actually a little out of alignment. The brass meridian marker traverses the
Chamber of the Pendulum Clock diagonally rather than north to south, a fact
no one likes to talk about because solar symbolism is crucial to the King's
sense of cosmic destiny. How happy it makes him to watch the sun rise
above his forecourt and set beneath his gardens! They extend on either side
of the Grand Canal, endlessly unrolling toward the western horizon, where
they at last slip through a gap between two poplars and plunge off the edge.
An unfortunate site for the seat of Bourbon power, really: a hillock
of unstable sand in the middle of a swamp in a wind tunnel of a valley.
Of course subsequent French theoreticians have embraced the
idea of Versailles's misalignment, perhaps in the same spirit with which they
consider frog legs a culinary triumph.
It's always better to make something out of nothing—that's the
French way.
And then the bed curtains part. How many nights? A thousand and one, give
or take a few?
Though instead of telling tales I scratch my husband's flea bites,
the only itch he'll let me scratch, poor thing. The bed curtains part and in he
comes, my very own King of France, just as he did that first night so many
years ago, his little eyes blinking uncontrollably in what I took to be a
colossal effort to see me in all my tender dishabille, though I now know he
was merely trying to stay awake. The sound of wind, of rain pattering onto
the leaves of the orange trees, and, even at so late an hour, feet racing up
and down the Stairways of the Hundred Steps.
Versailles in the spring—beloved Versailles!—frogs croaking deep
within the basins of her fountains, in the puddles left by the afternoon's
storm. The anguished cry of a star-crossed lover, a few far-off rumbles of
thunder like dice flung across a gaming table. All the remembered sounds of
my earliest acquaintance with the place, but muffled, muffled, and then, for
the briefest fraction of an instant, vivid again . . .
It was my wedding night. I had just stepped out of my bridal gown
embroidered with white diamonds the size of hazelnuts. The bed curtains
parted and there was my new husband's face, strangely bridelike itself in its
frame of white organdy and displaying the same slack-jawed expression I'd
noticed earlier that evening on his grandfather's face, bored to death—as any
sensible person would be—by the endless hands of cavagnole and endless
trays of hors d'oeuvres, though without the old King's dark catlike eyes, his
interest in female anatomy, my breasts in particular. The old King was
looking straight at them as he warned his grandson not to overeat and made
no effort to conceal his annoyance when Louis sagely observed that he
always slept better on a full stomach.
Which is probably why he chose to bring a plum tart with him into
the nuptial chamber, holding it tenderly on his palm like a pet. He took his
place on the right side of the bed and, without saying a word, began to cut
the tart into many tiny pieces with the same pocketknife I'd seen him use on
the Host. Singing off key, a song about the hunt, lalalalala, and then waving
the blade in my face, grudgingly, as if to suggest that if I were really hungry I
could scrape clean the knife—no thank you!—with my teeth.
A tall fellow, Louis, a regular hop-pole, narrowly built and long-
boned, though you could hardly tell since the lanky youth he might've been if
he hadn't been forced to be King when all he really wanted was to draw maps
and forge locks had already gotten swaddled in layers and layers of flesh.
If he seemed sullen on our wedding night it wasn't so much
because he didn't want to share the tart with me. It wasn't even the bed he
didn't want to share. It was the life.
Sweet smell of orange blossoms mixed with other less
intoxicating smells, smoke in the wall hangings, shit in the hallways. Shit,
not excrement, for that is how I am, have always been and always will be—I
adore the vernacular!
Lean close to a man and you can smell it on him, no matter how
diligently he strives to hide it. Lean close and you can also see a
constellation of flea bites on the delicate skin behind the ear, but try to kiss
him there—just go ahead and try—and he'll brush your lips away like you're
the flea.
Ma petite puce, I teased, practicing my French, and through
clenched teeth he replied, Laissez-moi, which I knew enough to know meant
Leave me alone. Not even a flicker of humor, or that widening of the wings of
the nostrils that, in my brother Karl at least, always meant he was
suppressing a laugh. I crooked a finger and began to scratch first one bite,
then another, until I had him moaning with pleasure. Louder, I prompted,
because of course I knew they were all there, the Queen's Guard and a
thousand revelers, laughing and drinking and fornicating on the other side of
the Bull's Eye window, waiting for some sign that the Dauphin wasn't, to use
his grandfather's phrase, a "laggard in the service of Aphrodite."
In those days I was also compared to Hebe, Psyche, Antiope,
Flora, and Minerva, though in the case of the last less due to her braininess
than the way she started life as one colossal headache.
Eventually I drew blood. Voilà! I said. Just a measly drop or two—
but once the court laundresses spread the word, let the court gossips draw
their own conclusions.
Envelope
Twenty-eight by thirty-four toises. Thirty-two by forty. Invite carriages into the
courtyard. No! Keep the horses out . . .
It was an endearing quality of the Sun King that he couldn't make
up his mind.
From the beginning, of course, he knew he wanted Versailles to
be the hub of the universe, and that the original chateau, a modest
brick "hunting lodge" built to provide his father with the ideal setting (i.e. as far
from his wife as possible) for post-hunt parties and amorous adventures, was
really much too small.
On this point Louis XIV and his advisors were in perfect accord:
the hub of the universe had to be a whole lot bigger. Where they hit a snag,
however, was in determining the limits of filial devotion: just because he was
Sun King, the advisors pointed out, didn't mean his sentimentality should be
given free rein, particularly if it meant trying to find some way to cram his
father's chateau into the heart of the new building like a "precious jewel,"
rather than tear it down like the architectural catastrophe everyone agreed it
was. Tear it down? Louis roared. Am-poss-EEE-bluh! But to have to build
around the old chateau would be like building around a sinkhole in a bog, the
advisors whined.
It was May 1668. The Peace of Aix-la-Chapelle had just been
signed and, as usual after signing a treaty, the Sun King was filled with a
deep need either to start another war or begin building a monument to his
own brilliance. At such moments he couldn't be stopped. Go ahead and try
tearing my father's house down, he replied. As fast as you do, I'll be
rebuilding it, brick by brick and stone by stone. At which point the advisors
gave up. Okay, they said. Keep the stupid house. Or words to that effect.
But when you insist on cleaving to the past, no matter how
enchanted your memory of it might be (through the window a round white
moon and a white spray of stars and swaying among the silver branches of
the lindens hundreds of yellow lanterns, and a beautiful woman with round
white breasts swinging to and fro on a golden swing, playing a lute and
singing, il y a longtemps que je t'aime, over and over, t'aime t'aime, as the
horses whinny and stamp their hooves on the marble paving stones and the
nightingales go chook chook chook . . .) you have to endlessly revise the
present to accommodate it.
Construction began in October; the following June the King wrote
a memorandum. "His Majesty wishes to make use of everything newly
made," he said, by which he evidently meant that having at last seen what
the beautiful and the ugly looked like sewn together (to paraphrase Saint-
Simon), he'd changed his mind and wanted the old chateau razed to the
ground.
But Kings are almost never left to their own devices, and Louis
was lucky enough to have Jean-Baptiste Colbert as his Overseer of Buildings.
Colbert, like many cold-blooded people (his emblem was a grass snake),
understood the value of collaboration. Immediately he called in his fiddlers
three—Le Vau, Le Brun, and d'Orbay —and together they came up with the
idea of the Envelope, a revolutionary design that sprawled in the Italian
manner rather than towering in the French (so as not to dwarf the old chateau
but rather to embrace it, albeit diffidently), the excessive length of its walls
disguised by the insertion at regular intervals of columns and pilasters, the
flatness of its roof by the addition of an ornate balustrade likewise interrupted
at intervals by giant sculptures of Kings riding into battle, or by cloaks and
flags and sunbursts, or by gods having their way with mortal women. Like a
burned-out husk of a palace, observed Saint-Simon. Or maybe more like one
whose roof and final story were always just about to be built and never
finished. A monument to vastness and constriction. One hundred toises from
the Place d'Armes to the first of two ornate golden fences, fifty toises from
the first fence to the second, forty-two toises across the Royal Court and up
six long steps to the Marble Court, then thirty-four to the front entrance of the
Old Chateau, looking less like a precious stone set in the heart of the new
building than like the monstrously big head of a monstrously long-armed
baby reaching out to draw you in. According to Jean-Baptiste Colbert, this
was as it should be: the King's power had to be monstrous and his palace a
grasping triumph of advertising, every gorgeous thing in it, every stick of inlaid
furniture, every silk swag or linen napkin, every blown-glass goblet or emerald
pendant, of French manufacture.
A toise equals six feet; that is, two manly strides or at least
eighteen of the tiny gliding footsteps required to perfectly execute
the "Versailles Walk," in which the soles of a woman's slippers—a queen's
diamond-soled slippers, for example, invisible beneath the hem of her Rose
Bertin gown—were made to glide soundlessly across the marble so she'd
look like she was floating, like she wasn't entirely human but part queen, part
ghost, in preparation for things to come.
I was a pretty girl; I glittered like the morning star. My red lips would open
and it was anyone's guess what would come out. A burst of song. Something
by Gluck, a pretty girl in pain maybe, impaled on the horn of the moon. The
Kings of France, starting with Charlemagne. A joke.
You can make yourself remember almost anything, as long as it
isn't too boring.
Louis XIII. Louis XIV. Louis XV.
The Old Rogue. The Sun King. Beloved.
Louis Louis Louis Louis. Louis as far as the eye could see. And
what would my Louis be called?
Often when my tutor was talking to me I'd picture my brain like a
storm drain in a Paris street, but whenever we put on plays I always took the
biggest part and never needed prompting. War broke out after Prussian
troops marched into Saxony in August of 1756. War broke out, not, How
sweet the breeze, how bright the stars, here in the pine grove.
At a moment's notice I could dress like a lady's maid or a
courtesan or a Greek goddess. Put on an accent, sway my hips. At a
moment's notice I could assume a new identity, as opposed to being forced
to be a witness to history. I didn't really want to be a witness to anything,
except maybe my own life as I watched it play like dappled sun across the
faces of friends and loved ones.
Whereas seeing your life reflected in the face of an enemy—
Madame Du Barry's face, to be specific—is more like enduring an
interminable account of, say, the Punic Wars. You are denied a role, your
lips criticized for being too thick, your eyes for being without eyelashes. You
die before the curtain comes up.
The Du Barry had a lavishly decorated suite of rooms at the
palace, linked by a secret staircase to the King's, and for the most part she
remained there, nestled in his lap like a large pink baby, dispensing advice
on matters of the gravest political consequence. That she hadn't a clue, that
before she was Louis XV's mistress she'd been a streetwalker, and not an
especially good-looking one at that, was completely beside the point.
The King adored her. "Royal," she called him. "My thweet." The
lisp was said to be an affectation. On fine afternoons she'd sashay forth to
take the air, her Bengali page, Zamor, trailing behind in his pink velvet jacket
and trousers and his snow white turban. Sometimes he would protect her big
round head from rain or sun with a frilled parasol. Sometimes she would
stumble, either because she was drunk, or because she insisted on wearing
shoes that were too small, or because her legs were worn out from parting for
the King.
Everyone knew he couldn't get enough of her; needless to say
that was all she needed to lord it over me and my poor indifferent Louis. Just
as everyone knew she was the sworn enemy of the King's chief minister,
Choiseul, who'd urged an alliance between France and Austria for years, as
well as my marriage to the Dauphin.
Boring boring boring. Could it possibly be more boring, aside from
the people themselves, or the way I felt myself slipping between events like a
goldfish between lily roots?
"The King's character resembles soft wax on which the most
dissimilar objects can be randomly traced," Choiseul once observed. And in
fact, for all his good looks and winning ways, the King wasn't particularly
smart, his three specialties being coffee making, stag hunting, and knocking
the top off soft-boiled eggs.
Copyright © 2002 by Kathryn Davis. Reprinted by permission of Houghton
Mifflin Company.
