The next evening little Fräulein von Kobell saw her again at the Hof Theatre, where her first appearance before the Munich public was made on October 10, 1846.
Lola Montez assumed the centre of the stage. She was not dressed in the customary tights and short skirts of a ballerina, but in a Spanish costume of silk and lace, in which shone at intervals a diamond. It seemed as if fire darted from her wonderful blue eyes, and she bowed like one of the Graces at the King in the royal box. She danced after the manner of her country, bending on her hips and alternating one posture with another, each rivalling the former one in beauty.
While she was dancing she held the attention of all; everybody's eyes followed her sinuous movements, now indicative of glowing passion, now of frolicsomeness. Not until she ceased her rhythmic swayings was the spell interrupted. The audience went mad with rapture, and the entire dance had to be repeated over and over again.
Ludwig, ensconced in the royal box, could not take his eyes off her. During an entr'acte he scribbled a verse: Happy movements, clear and near, Are in thy living grace. Supple and tender, as a deer Art thou, of Andalusian race!
"Wunderschön!" declared an admiring aide-de-camp to whom he showed it.
"Kolossal!" echoed a second, not to be outdone in recognising laureateship.
As, however, the cheers were mingled with a few hisses ("due to the report that the newcomer was an English Freemason, and wanted to destroy the Catholic religion"), the next evening the management took the precaution of filling the pit with a leather-lunged and horny-handed claque. This time the bill consisted of a comedy, Der Weiberseind von Benedix, followed by a cachucha and a fandango with Herr Opsermann for a dancing-partner.
Lola's success was assured; and Herr Frays, who had started by refusing to let her appear, was now full of grovelling apologies. He offered her a contract. But Lola, having other ideas as to how her time should be employed in Munich, would not accept it.
"Thank you for nothing," she said. "When I asked you for an engagement, you told me I was not good enough to dance in your theatre. Well, I have now proved to both Fräulein Frenzal and yourself that I am. That is all I care about, and I shall not dance again, either for you or for anybody else."
If she had known enough German, she would probably have added: "Put that in your pipe and smoke it!"