William Makepeace Thackeray: Vanity Fair

51. LI: In Which a Charade Is Acted Which May or May Not Puzzle the Reader (continued)

There was a little ballet, "Le Rossignol," in which Montessu and Noblet used to be famous in those days, and which Mr. Wagg transferred to the English stage as an opera, putting his verse, of which he was a skilful writer, to the pretty airs of the ballet. It was dressed in old French costume, and little Lord Southdown now appeared admirably attired in the disguise of an old woman hobbling about the stage with a faultless crooked stick.

Trills of melody were heard behind the scenes, and gurgling from a sweet pasteboard cottage covered with roses and trellis work. "Philomele, Philomele," cries the old woman, and Philomele comes out.

More applause--it is Mrs. Rawdon Crawley in powder and patches, the most ravissante little Marquise in the world.

She comes in laughing, humming, and frisks about the stage with all the innocence of theatrical youth--she makes a curtsey. Mamma says "Why, child, you are always laughing and singing," and away she goes, with--

THE ROSE UPON MY BALCONY

The rose upon my balcony the morning air perfuming
Was leafless all the winter time and pining for the spring;
You ask me why her breath is sweet and why her cheek is
  blooming,
It is because the sun is out and birds begin to sing.

The nightingale, whose melody is through the greenwood
  ringing,
Was silent when the boughs were bare and winds were
  blowing keen:
And if, Mamma, you ask of me the reason of his singing,
It is because the sun is out and all the leaves are green.

Thus each performs his part, Mamma, the birds have found
  their voices,
The blowing rose a flush, Mamma, her bonny cheek to
  dye;
And there's sunshine in my heart, Mamma, which wakens
  and rejoices,
And so I sing and blush, Mamma, and that's the reason
  why.