"Forgive me, beautiful lady, if the abrupt manner of my entrance startled you. The truth is that I have never been the same since that last affair of mine with Almaviva. My heart is not what it used to be. Down there at the end of the lane I came face to face with an elderly gentleman carrying a heavy cudgel, and the horrible thought entered my mind that it might be your father, and that our little stratagem to get you safely married might already have been betrayed to him. I think it was the cudgel put such notion in my head. Not that I am afraid. I am not really afraid of anything. But I could not help reflecting that, if it should really have been your father, and he had broken my head with his cudgel, your hopes would have perished with me. For without me, what should you have done, my poor children?"
A ripple of laughter from the audience had been steadily enheartening him, and helping him to recover his natural impudence. It was clear they found him comical. They were to find him far more comical than ever he had intended, and this was largely due to a fortuitous circumstance upon which he had insufficiently reckoned. The fear of recognition by some one from Gavrillac or Rennes had been strong upon him. His face was sufficiently made up to baffle recognition; but there remained his voice. To dissemble this he had availed himself of the fact that Figaro was a Spaniard. He had known a Spaniard at Louis le Grand who spoke a fluent but most extraordinary French, with a grotesque excess of sibilant sounds. It was an accent that he had often imitated, as youths will imitate characteristics that excite their mirth. Opportunely he had bethought him of that Spanish student, and it was upon his speech that to-night he modelled his own. The audience of Guichen found it as laughable on his lips as he and his fellows had found it formerly on the lips of that derided Spaniard.
Meanwhile, behind the scenes, Binet—listening to that glib impromptu of which the scenario gave no indication—had recovered from his fears.
