Evening star., 1901-02-16

to her methereConadential specialists were
called in. but did little for her. The only
comfort they could give, that the slight or
partial deafness would not increase and
might decrease, filled the young princess
with despair. lAt the time of her marriage.
abnormally sensitive about keeping the Sc
cret she often pretended to hear what she
did not hear. In fact, nobody dreamed that
the beautiful young Princess Of Wales was
deaf Now. the prince always had the
habit-which has grown on him-of mum
bling his words in low tone, down in
his chin or in his neck, as the saying Is.
In the semi-pr1vacy of the breakfast and
luncheon table his intimates affected the
same low-toned mumbling. to Initiate him.
1t therefore happened that the young wife
heard not half of what was being said
around her. while feeling obliged to ap-
pear to be au courant of all. 1t is said that
the misunderstanding growing out of this
unhappy trifle were the real cause of much
unhappiness and misfortune.
Awkward Incident.
This weakness of Albert Edward-if
speaking low can be called weakness
was once the cause of great humiliation to
a worthy actor of the Theater Francois.
The green rooms of the Francois and the
Grand Opera were always two favorite re-
sorts of the prince, to which he might al
ways betake himself without secrecy and
deed, the actresses of the Francais hold
veritable salons in their spacious foyer,
parlors and sitting rooms behind the scenes
1t was in the large general foyer Of the
artistes, and the prince was genially chat
ting with Mounet-Sully and Jules Claretie
the director. These called to them another
actor Of the company, a conscientious ar
tist Of the name of Sylvan, who came.
had made several remarks. none of which
he had managed to catch. Not being aware
Of his highness' infirmity. and being much
upset. Sylvan had twice already either
asked that the prince repeat or obviously
misunderstood him. A third time there
came a misunderstanding which so an
noyed his highness that he signif1ed his
desire to go back to his loge. He had
turned to go. when at that moment two
other actors, unaware Of his presence
joined Sylvan and begun laughing con-
versation. One Of them was even giving
an imitation Of mutual friends way Of
talking-which, unfortunately was not I'M
like that of the prince. At any rate, the
prince ended by being very much offended
and it was difficult to make an explanation.
Such was the real origin of the story, now
famous, Of the Prince Of Wales being in
suited in the foyer des artistes of the The
alter Francais
Behind the Scenes.
At the foyer de la danse Of the Grand
Opera, where his friend Baron Hirsch was
more at home. The great star, Mauri, he
had known since her Paris debut, as wild
hearted young Spanish girl. Cleo de Mer-
ode, later to be the admiration Of his
cousin, the King Of the Belgians. he saw
grow up from little rat in the elemen-
tary classes. Subra, now herself become
royalty obese. but still in the ring as a
star Of the opera. had received his homage
and bouquets when in the height of her
beauty. Indeed, Parisians have come
SO naturally to figure le Prince de GALES
as somewhere or other behind the scenes
at the opera while in Paris that when the
Musee Grevin brought out its great tableau
of the "Coulisse de TOpera," the celebrated
sculptor in wax did not hesitate to put his
highness in as large as life.
There he stands today, In the world
famous group that every tourist will re-
member, though put down In the key list
as only an anonymous "abonne." He stands
istic attitude. his hands in his trousers
pockets, Just as II he had been talking to
the figure In front Of his, which Is a good
likeness Of the late Baron Hirsch. 1t is the
the chat by slapping her hands over the
august eyes from behind. She has to reach
up standing on one toe. To the left Of
the foreground Rose Caron Is having a
last word with Director Gailhard. before
she goes on the scene, In the costume Of
Marguerite, Young Cleo de Merode, Just
promoted to the quadrilles and not yet
anything like star, leans against the wall
in the background. 1t is not yet her hour
to play jokes on princes. Even Tori, near
by to the right, looks startled at the au-
dacity of Ricotti For that matter, did
not Mrs. Langtry suffer lasting rebuke
for just such a harmless piece Of fun at
his expense? 1t was said she put a piece
Of ice down the back of his neck at sup
per table. In the Musee Grevin tableau
he is bon prince, however. and does not
take offense.
British Ambassador Shocked.
1t was the British ambassador instead
who took offense at the whole thing. A
few months after the installation Of the
"Coulisse de rOpera' the Musee Grevin
was told, by government order. to remove
the likeness Of the Prince Of Wales. The
figure was not exactly removed, but COM
promise was effected. Instead. the whis-
kers were retrimmed and parted in the
middle, while certain touches to the face
completed the work Of transformation.
Today no Englishman need be shocked to
see the wax model Of his king. life size,
in evening dress. surrounded by bevy OF
opera girls. while Of them takes the
awful liberty Of clapping her two hands
over his eyes from behind. It is no longer
the Prince Of Wales. 1t is only nom
descript side -whiskered abonne Neverthe-
less, the guides, when they take English or
AHericdns through tne great EaIlS wax
works collection. stop them at the 'Coulisse
de rOpera" to whisper them its explana-
ton. as of great secret do you see the
monsieur on the step? The pretty dan
seuse holding his eyes, Do you see? Eth.
bien, that Is the Prince of Wales! He used
to go great deal to the foyer Of the
opera" And SO they will go on explaining
In years to come. when the prince used
to come to Paris-before he became king!"
STERLING HELLO.
Just the Same.