The next day, from early morning, the commotion began with the arrival of the actors, an avalanche of hats and wigs and big boots, of short skirts and affected cries, of floating veils and fresh make-ups.  The women were in a great majority, as Cardailhac thought that for a Bey the play was of little consequence, and that all that was needful was to have catchy tunes in pretty mouths, to show fine arms and shapely legs in the easy costume of light opera.  All the well-made celebrities of his theatre were there, Amy Ferat at the head of them, a bold young woman who had already had her teeth in the gold of several crowns.  There were two or three well-known men whose pale faces made the same kind of chalky and spectral spots amid the green of the trees as the plaster of the statues.  All these people, enlivened by the journey, the surprise of the country, the overflowing hospitality, as well as the hope of making something out of this sojourn of Beys and Nabobs and other gilded fools, wanted only to play, to jest and sing with the vulgar boisterousness of a crew of freshly discharged Seine boatmen.  But Cardailhac meant otherwise.  No sooner were they unpacked, freshened up, and luncheon over than, quick, the parts, the rehearsals!  There was no time to lose.  They worked in the small drawing-room next the summer gallery, where the theatre was already being fitted up; and the noise of hammers, the songs from the burlesque, the shrill voices, the conductor’s fiddle, mingled with the loud trumpet-like calls of the peacocks, and rose upon the hot southern wind, which, not recognising it as only the mad rattle of its own grasshoppers, shook it all disdainfully on the trailing tip of its wings.

Seated in the centre of the terrace, as in the stage-box of his theatre, Cardailhac watched the rehearsals, gave orders to a crowd of workmen and gardeners, had trees cut down as spoiling the view, designed the triumphal arches, sent off telegrams, express messengers to mayors, to sub-prefects, to Arles—­to arrange for a deputation of girls in national costume; to Barbantane, where the best dancers are; to Faraman, famous for its wild bulls and Camargue horses.  And as the name of Jansoulet, joined to that of the Bey of Tunis, flared at the end of all these messages, on all sides they hastened to obey; the telegraph wires were never still, messengers wore out horses on the roads.  And this little Sardanapalus of the stage called Cardailhac repeated ever, “There’s something to work on here,” happy to scatter gold at random like handfuls of seed, to have a stage of forty leagues to stir about—­the whole of Provence, of which this rabid Parisian was a native and whose picturesque resources he knew to the core.