However, he was very kind, and, when we got to Warsaw, managed to get me an engagement at the Opera. After two or three days, the director told me that I couldn't dance a bit. I stared him full in the face, and asked him whether he thought that, if I could dance, I would have come to such a hole as his theatre. Thereupon he laughed, and said I was a clever girl for all that, and that he would keep me on for ornament. I didn't give him the chance for long. I left after about two months, with a Polish gentleman, who brought me to Paris. The moment I get a nice round lump sum of money, I am going to carry out my original plan; that is, trying to hook a prince. I am sick of being told that I can't dance.

They told me so in London, they told me in Warsaw, they told me at the Porte Saint-Martin where they hissed me. I don't think the men, if left to themselves, would hiss me; their wives and their daughters put them up to it: a woman like myself spoils their trade of honest women. I am only waiting my chance here; for though you are all very nice and generous and all that kind of thing, it is not what I want."

Shortly after this conversation, the death of Dujarrier and his legacy to her gave her the chance she had been looking for. She left for London, I heard, with an Englishman; but I never saw him, so I cannot say for certain. But, it appears, she did not stay long, because, a little while after, several Parisians, on their return from Germany, reported that they had met her at Wiesbaden, at Homburg, and elsewhere, punting in a small way, not settling down anywhere, and almost deliberately avoiding both Frenchmen and Englishmen. The rumour went that her husband was on her track, and that her anxiety to avoid him had caused her to leave London hurriedly. In spite of her chequered career, in spite of the shortcomings at Brussels, Lola Montes was by no means anxious for the "sweet yoke of domesticity." In another six months, her name was almost forgotten by all of us, except by Alexandre Dumas, who now and then alluded to her. Though far from superst.i.tious, Dumas, who had been as much smitten with her as most of her admirers, avowed that he was glad she had disappeared. "She has 'the evil eye,'" he said; "and sure to bring bad luck to any one who closely links his destiny with hers, for however short a time. You see what has occurred to Dujarrier. If ever she is heard of again, it will be in connection with some terrible calamity that has befallen a lover of hers." We all laughed at him, except Dr. Veron, who could have given odds to Solomon Eagle himself at prophesying. Fortunately he was generally afraid to open his lips, for he was thoroughly sincere in his belief that he could prevent the event by not predicting it--at any rate aloud. For once in a way, however, Alexandre Dumas proved correct. When we did hear again of Lola Montes, it was in connection with the disturbances that had broken out at Munich, and the abdication of her royal lover, Louis I. of Bavaria, in favour of his eldest son, Maximilian.

The substance of the following notes relating to said disturbances was communicated to me by a political personage who played a not inconsiderable part in the events themselves. As a rule it is not very safe to take interested evidence of that kind, "but in this instance,"

as my informant put it, "there was really no political reputation to preserve, as far as he was concerned." Lola Montes had simply tried to overthrow him as Madame Dubarry overthrew the Duc de Choiseul, because he would not become her creature; and she had kept on repeating the tactics with every succeeding ministry, even that of her own making. But it should be remembered that revolution was in the air in the year '48, and that if Lola Montes had been the most retiring of favourites, or Louis I. the most moral of kings, the uprising would have happened just the same, though the upshot might have been different with regard to Louis himself.

Here is a portrait of him, which, in my literary ignorance, I think sufficiently interesting to reproduce.

"Louis was a chip of the old Wittelsbach block; that is, a Lovelace, with a touch of the _minnesinger_ about him. Age had not damped his ardour; for, though he was sixty-one when Lola Montes took up her quarters at Munich, any and every 'beauty' that came to him was sure of an enthusiastic welcome. And Heaven alone knows how many had come to him during his reign; they seemed really directed to him from every quarter of the globe. The new arrival had her portrait painted almost immediately; it was added to the collection for which a special gallery had been set apart, and whither Louis went to meditate by himself at least once a day. He averred that he went thither for poetic inspiration, for he took himself au serieux as a poet, and, above all, as a cla.s.sical poet modelling his verse upon those of ancient times. He had published a volume of poems, ent.i.tled 'Walhalla's Genossen';[18] but his princ.i.p.al study of antiquity was mainly confined to the rites connected with the worship of Venus. He was very good-natured and pleasant in his dealings with every one; he had not an ounce of gall in the whole of his body. He was, moreover, very religious in his own way, and consequently the tool of the Jesuits, who really governed the kingdom, but who endeavoured to make his own life sweet and pleasant to him. They liked him to take part in the religious processions, as any burgher of devout tendencies might, but being aware of his tendency to be attracted by the first pretty face he caught sight of, they took care to relegate all the handsome maidens and matrons to the first and second floors. In that way Louis's eyes were always lifted heavenwards, and religious appearances were preserved.

[Footnote 18: "Companions in Walhalla."--EDITOR.]

"Under such conditions, it was not difficult for a woman of Lola Montes'

attractions and daring to gain her ends. She was not altogether without means when she came to Munich, though the sum in her possession was far from a hundred thousand francs, as she afterwards alleged it was. At any rate, she was not the penniless adventuress she had formerly been, and when, in her beautiful dresses, she applied to the director of the Hof-Theatre for an engagement, the latter was fairly dazzled, and granted her request without a murmur. She did, however, not want to dance, and, before her first appearance, she managed to set tongues wagging about her beauty, and, as a matter of course, the rumours reached the king's ears. I am afraid I shall have to prefer a grave charge, but I am not doing so without foundation. It is almost certain by now that the Jesuits, seeing in her a tool for the further subjugation of the superannuated royal troubadour, countenanced, if they did not a.s.sist her in her schemes; they, the Jesuits, did many things of which a Catholic, like myself, however firm in his allegiance to Rome, could not but disapprove. At any rate, three or four days after the king's first meeting with her, Lola Montes was presented at court, and introduced to the royal family and corps diplomatique by the sovereign himself, as 'his best friend.' Events proceeded apace. In August, '47, the king granted her patents of 'special naturalization,' created her Baroness von Rosenthal, and, almost immediately afterwards, Countess von Landsfeld. She received an annuity of twenty thousand florins, and had a magnificent mansion built for her. At the instance of the king, the queen was compelled to confer the order of St. Therese upon her. I, and many others, had strenuously opposed all this, though not unaware that, up till then, the Jesuits were on her side, rather than on ours. We paid the penalty of our opposition with our dismissal from office, and then Lola Montes confronted the Jesuits by herself. She was absolutely mad to invade Wurtemberg, not for any political reason; she could no more have accounted for any such than the merest hind, but simply because, a few months before her appearance at Munich, she had been, in her opinion, slighted by the old king. The fact was, old William, sincerely attached to Amalia Stubenrauch, the actress, had not fallen a victim to Lola Montes' charms, and had taken little or no notice of her. The contemplated invasion of Wurtemberg was an act of private revenge. But mad as she was, there was some one more mad still--King Louis I. of Bavaria.

"The most ill-advised thing she did, perhaps, was to change her supporters. Like the ignorant, overbearing woman she was, she would not consent to share her power over the king with the Jesuits; she tried to form an opposition against them among the students at the University, and she succeeded to a certain extent. These adherents const.i.tuted the nucleus of a corps which soon became known under the t.i.tle of 'Allemanen.' But the more n.o.ble-minded and patriotic youths at the Munich University virtually ostracized the latter, and several minor disturbances had already broken out in consequence of this, when, in the beginning of February, '48, a more than usually serious manifestation against 'Lola's creatures,' as they were called, took place. The woman did not lack pluck, and she insisted upon defying the rioters by herself. But they proved too much for her; and, after all, she was a woman. She endeavoured to escape from their violence, but every house was shut against her; the Swiss on guard at the Austrian Emba.s.sy refused her shelter. A most painful scene happened; the king himself, the moment the news reached him, rushed to her rescue, and, having elbowed his way through the threatening, yelling crowd, offered her his arm, and conducted her to the church of the Theatines, hard by. As a matter of course, several officers had joined him, and all might have been well, if she had taken the lesson to heart. But her violent, domineering, vindictive temper got the better of her. No sooner did she find herself in comparative safety, than, emboldened by the presence of the officers, she s.n.a.t.c.hed a pistol from one of them, and, armed with it, leapt out of the building, confronting the crowd, and threatening to fire. Heaven alone knows what would have been the result of this mad act, but for the timely arrival of a squadron of cuira.s.siers, who covered her retreat.

"The excitement might have died out in a week or a fortnight, though the year '48 was scarcely a propitious one for a display of such quasi-feudal defiance, if she had merely been content to forego the revenge for the insults she herself had provoked; but on the 10th of February she prevailed upon the king to issue a decree, closing the University for a twelvemonth. The smouldering fire of resentment against her constant interference in the affairs of the country blazed forth once more, and this time with greater violence than ever. The working men, nay, the commercial middle cla.s.ses, hitherto indifferent to the king's vagaries, which, after all, brought grist to their mill, espoused the students' cause. Barricades were erected; the cry was not 'Long live the Const.i.tution,' or 'Long live the Republic,' but 'Down with the concubine.' It was impossible to mistake the drift of that insurrection, but, in order to leave no doubt about it in the sovereign's mind, a deputation of the munic.i.p.al council and one of the Upper House waited upon Louis, and insisted upon the dismissal of Lola Montes, who, in less than an hour, left Munich, escorted by a troop of gendarmes, who, however, had all their work to do to prevent her from being torn to pieces by the mob. Her departure was the signal for the pillaging of her mansion, at which the king looked on--as he thought--incognito. It is difficult to determine what prompted him to commit so rash an act. Was it a feeling of relief at having got rid of her--for there was a good deal of cynicism about that semi-philosophical, semi-mystical troubadour--or a desire to chew the cud of his vanished happiness?

Whatever may have been the reason, he paid dearly for it, for some one smashed a looking-gla.s.s over his head, and he was carried back to the palace, unconscious, and bleeding profusely. It was never ascertained who inflicted the wounds, though there is no doubt that the a.s.sailant knew his victim. Meanwhile Lola Montes had succeeded in slipping away from her escort, and three hours later she re-entered Munich disguised, and endeavoured to make her way to the palace. But the latter was carefully guarded, and for the next month all her attempts in that direction proved fruitless, though, audacious as she was, she did not dare stop for a single night in the capital itself. Besides, I do not believe that a single inhabitant would have given her shelter. Unlike a good many royal favourites of the past, she had no personal adherents, no faithful servants who would have stood by her through thick and thin, because she never treated any one kindly in the days of her prosperity: she could only bribe; she was incapable of inspiring disinterested affection among those who were insensible to the spell of her marvellous beauty."

So far the narrative of my informant. The rest is pretty well known by everybody. A few years later, she committed bigamy with another English officer, named Heald, who was drowned at Lisbon about the same time that her real husband died. Alexandre Dumas was right--she brought ill-luck to those who attached themselves to her for any length of time, whether in the guise of lovers or husbands.

These notes about Lola Montes remind me of another woman whom public opinion would place in the same category, though she vastly differed in character. I am alluding to Alphonsine Plessis, better known to the world at large as "La Dame aux Camelias." I frequently met her in the society of some of my friends between '43 and '47, the year of her death. Her name was as I have written it, and not Marie or Marguerite Duplessis, as has been written since.

The world at large, and especially the English, have always made very serious mistakes, both with regard to the heroine of the younger Dumas'

novel and play, and the author himself. They have taxed him with having chosen an unworthy subject, and, by idealizing it, taught a lesson of vice instead of virtue; they have taken it for granted that Alphonsine Plessis was no better than her kind. She was much better than that, though probably not sufficiently good to take a housemaid's place and be obedient to her pastors and masters, to slave from morn till night for a mere pittance, in addition to her virtue, which was ultimately to prove its own reward--the latter to consist of a home of her own, with a lot of squalling brats about her, where she would have had to slave as she had slaved before, without the monthly pittances. .h.i.therto doled out to her. She was not sufficiently good to see her marvellously beautiful face, her matchless graceful figure set off by a cambric cap and a calico gown, instead of having the first enhanced by the gleam of priceless jewels in her hair and the second wrapped in soft laces and velvets and satins; but, for all that, she was not the common courtesan the goody-goody people have thought fit to proclaim her--the common courtesan, who, according to these goody-goody people, would have descended to her grave forgotten, but for the misplaced enthusiasm of a poetical young man, who was himself corrupted by the atmosphere in which he was born and lived afterwards.

The sober fact is that Dumas _fils_ did not idealize anything at all, and, least of all, Alphonsine Plessis' character. Though very young at the time of her death, he was then already much more of a philosopher than a poet. He had not seen half as much of Alphonsine Duplessis during her life as is commonly supposed, and the first idea of the novel was probably suggested to him, not by his acquaintance with her, but by the sensation her death caused among the Paris public, the female part of which--almost without distinction--went to look at her apartment, to appraise her jewels and dresses, etc. "They would probably like to have had them on the same terms," said a terrible cynic. The remark must have struck young Dumas, in whose hearing it was said, or who, at any rate, had it reported to him; for if we carefully look at _all_ his earlier plays, we find the spirit of that remark largely pervading them.

Alphonsine Plessis had probably learned even less in her girlhood than Lola Montes, but she had a natural tact, and an instinctive refinement which no education could have enhanced. She never made grammatical mistakes, no coa.r.s.e expression ever pa.s.sed her lips. Lola Montes could not make friends; Alphonsine Plessis could not make enemies. She never became riotous like the other, not even boisterous; for amidst the most animated scenes she was haunted by the sure knowledge that she would die young, and life, but for that knowledge, would have been very sweet to her. Amidst these scenes, she would often sit and chat to me: she liked me, because I never paid her many compliments, although I was but six years older than the most courted woman of her time. The story of her being provided for by a foreign n.o.bleman because she was so like his deceased daughter, was not a piece of fiction on Dumas' part; it was a positive fact. Alphonsine Plessis, after this provision was made for her, might have led the most retired existence; she might, like so many demi-mondaines have done since, bought herself a country-house, re-entered "the paths of respectability," have had a pew in the parish church, been in constant communication with the vicar, prolonged her life by several years, and died in the odour of sanct.i.ty: but, notwithstanding her desperate desire to live, her very nature revolted at such self-exile. When Alexandre Dumas read the "Dame aux Camelias" to his father, the latter wept like a baby, but his tears did not drown the critical faculty. "At the beginning of the third act," he said afterwards, "I was wondering how Alexandre would get his Marguerite back to town without lowering her in the estimation of the spectator.

Because, if such a woman as he depicted was to remain true to nature--to her nature--and consequently able to stand the test of psychological a.n.a.lysis, she could not have borne more than two or three months of such retirement. This does not mean that she would have severed her connection with Armand Duval, but he would have become 'un plat dans le menu' after a little while, nothing more. The way Alexandre got out of the difficulty proves that he is my son every inch of him, and that, at the very outset of his career, he is a better dramatist than I am ever likely to be. But depend upon it, that if, in real life and with such a woman, le pere Duval had not interfered, la belle Marguerite would have taken the 'key of the street' on some pretext--and that, notwithstanding the sale of her carriages, the pledging of her diamonds and her furs--in order not to worry the man she loved, for the time being, with money matters. Honestly speaking, it wanted my son's cleverness to make a piece out of Alphonsine Plessis' life. True, he was fortunate in that she died, which left him free to ascribe that death to any cause but the right one, namely, consumption. I know that he made use of it, but he took care to show the malady aggravated by Armand Duval's desertion of her, and this is the only liberty he took with the psychological, consequently scientific and logical, development of the play. People have compared his Marguerite Gautier to Manon Lescaut, to Marion Delorme, and so forth: it just shows what they know about it. They might just as well compare Thiers to Cromwell. Manon Lescaut, Marion Delorme, Cromwell, knew what they wanted: Marguerite Gautier and Thiers do not; both are always in search of _l'inconnu_, the one in experimental politics, the other in experimental love-making. Still, my son has been true to Nature; but he has taken an episode showing her at her best. He was not bound to let the public know that the frequent recurrence of these love episodes, but always with a different partner, const.i.tutes a disease which is as well known to specialists as the disease of drunkenness, and for which it is impossible to find a cure. Messalina, Catherine II., and thousands of women have suffered from it. When they happen to be born in such exalted stations as these two, they buy men; when they happen to be born in a lowly station and are attractive, they sell themselves; when they are ugly and repulsive they sink to the lowest depths of degradation, or end in the padded cells of a madhouse, where no man dares come near them. Nine times out of ten the malady is hereditary, and I am certain that if we could trace the genealogy of Alphonsine Plessis, we should find the taint either on the father's side or on the mother's, probably on the former's, but more probably still on both."[19]

[Footnote 19: The following is virtually a summary of an article by Count G. de Contades, in a French bibliographical periodical, _Le Livre_ (Dec. 10, 1885), and shows how near Alexandre Dumas was to the truth. I have given it at great length. My excuse for so doing is the extraordinary popularity of Dumas' play with all cla.s.ses of playgoers. As a consequence, there is not a single modern play, with the exception of those of Shakespeare, the genesis of which has been so much commented upon. It is no exaggeration to say that most educated playgoers, not to mention professional students of the drama, have at some time or other expressed a wish to know something more of the real Marguerite Gautier's parentage and antecedents than is shown by Dumas, either in his play or in his novel, or than what they could gather from the partly apocryphal details given by her contemporaries. Dumas himself, in his preface to the play, says that she was a farm servant. He probably knew no more than that, nor did Alphonsine Plessis herself. In after-years, the eminent dramatist had neither the time nor the inclination to search musty parish registers; Count de Contades has done so for him. Here are the results, as briefly as possible, of his researches. Alphonsine Plessis' paternal grandmother, "moitie mendiante et moitie prost.i.tuee,"

inhabited, a little less than a century ago, the small parish of Longe-sur-Maire, which has since become simply Longe in the canton of Briouze, arrondiss.e.m.e.nt of Argentan (about thirty miles from Alencon). She had been nicknamed "La Guenuchetonne,"

a rustic version of the archaic French word _guenippe_ (slattern). Louis Descours, a kind of country clod who had entered the priesthood without the least vocation, and just because his people wished him to do so, becomes enamoured of "La Guenuchetonne," and early in January, 1790, the cure Philippe christens a male child, which is registered as Marin Plessis, mother Louis-Renee Plessis, father unknown. That the father was known well enough is proved by the Christian name bestowed upon the babe, Marin, which was that of Louis Descours' father. This gallant adventure of the country priest was an open secret for miles around.

Marin Plessis grew into a handsome fellow, and when about twenty took to travelling in the adjacent provinces of lower and upper Normandy with a pack of small wares. Handsome and amiable besides, he was a welcome guest everywhere, and soon became a great favourite with the female part of the Normandy peasantry. For a little while he flitted from one rustic beauty to another, until he was fairly caught by one more handsome than the rest, Marie Deshayes. She was not, perhaps, immaculately virtuous, but, apart from her extraordinary personal attractions, she was something more than an ordinary peasant girl.

Some sixty years before Marin Plessis' union with Marie Deshayes, there lived in the neighbourhood of Evreux a spinster lady of good descent, though not very well provided with worldly goods. She was comely and sweet-tempered enough, but then, as now, comeliness and a sweet temper do not count for much in the French matrimonial market, and least of all in the provincial one. Owing to the modesty of her marriage portion, she had no suitors for her hand, and, being of an exceedingly amorous disposition, she bestowed her affection where she could, "without regret, and without false shame," as the old French chronicler has it.

The annals of the village--for, curiously enough, these annals do exist, though only in ma.n.u.scripts--are commendably reticent about the exact number and names of her lovers. It would seem that the author, a contemporary of Mdlle. Anne du Mesnil d'Argentelles and the great-grandfather of the present possessor of the notes, a gentleman near Bernay, was divided between the wish of not being too hard upon his neighbour, who was, after all, a gentle-woman, and the desire to leave a record of a peculiar phase of the country manners of those days to posterity. Be this as it may, Mdlle. d'Argentelles' swains, previous to the very last one, have been doomed to anonymous obscurity. But with the advent of etienne Deshayes, the annalist becomes less reticent, he is considered worthy of being mentioned in full, perhaps as a reward for having finally "made an honest woman" of his inamorata. For that is the final upshot of the love-story between him and Mdlle. d'Argentelles, which, in its earlier stages, bears a certain resemblance to that between Jean-Jacques Rousseau and Madame de Warens, with this difference--that the Normand Jean-Jacques is considerably older than his mistress.

The children born of this marriage were very numerous. One of them, Louis-Deshayes, married a handsome peasant girl, Marie-Madeleine Marra, who appears to have been somewhat too intimate with a neighbouring squire, but who gave birth a few years after to a daughter, of whose paternity there could not be the smallest doubt, seeing that she grew up into a speaking likeness of her maternal grandmother, the erstwhile Mdlle. Anne du Mesnil d'Argentelles. Fate ought to have had a better lot in store for beautiful Marie Deshayes than a marriage with a poor pedlar like Marin Plessis; but the latter was very handsome, and, notwithstanding the opposition of the family, she became his wife. On the 15th of January, 1824, the child which was to be immortalized as "La Dame aux Camelias" saw the light, in a small village in Lower Normandy.--EDITOR.]

There were few of us who, during Alphonsine Plessis' lifetime, were so interested in her as to have gone to the length of such a psychological a.n.a.lysis of her pedigree. Nevertheless, most men were agreed that she was no ordinary girl. Her candour about her early want of education increased the interest. "Twenty or twenty-five years ago," said Dr.

Veron, one day, after Alphonsine Plessis had left the dinner table, "a woman of her refinement would not have been phenomenal in her position, because at that period the grisette, promoted to the rank of femme entretenue, had not made her appearance. The expression 'femme entretenue' was not even known. Men chose their companions, outside marriage, from a different cla.s.s; they were generally women of education and often of good family who had made a faux pas, and, as such, forfeited the society and countenance of their equals who had not stumbled in that way, at any rate not in the sight of the world. I confess, Alphonsine Plessis interests me very much. She is, first of all, the best-dressed woman in Paris; secondly, she neither flaunts nor hides her vices; thirdly, she is not always talking or hinting about money; in short, she is a wonderful courtesan."

The result of all this admiration was very favourable to Alexandre Dumas _fils_ when he brought out his book about eighteen months after her death. It was in every one's hands, and the press kept whetting the curiosity of those who had not read it as yet with personal anecdotes about the heroine. In addition to this, the t.i.tle was a very taking one, and, moreover, absolutely new; for, though it was obvious enough from Alphonsine Plessis' habit of wearing white camellias the greater part of the year, no one had ever thought of applying it to her while she was alive; hence, the credit of its invention belongs decidedly to Dumas _fils_.

I may return to the subject of "La Dame aux Camelias" in connection with the play; meanwhile, I will say a few words of the only man among our set who objected to the t.i.tle, "because it injures my own," as he put it; namely, M. Lautour-Mezerai, who had been surnamed "L'Homme au Camellia;" in the singular, from his habit of never appearing in public without that flower in his b.u.t.ton-hole. And be it remembered that in those days, the flower was much more rare than it is at present, and consequently very expensive. The plagiarist, if there was one, must have been Alphonsine Plessis, for Dr. Veron, who was one of his oldest friends, did not remember having ever seen him _minus_ the camellia, and their friendship dated from the year 1831. It is computed that during the nineteen years Mezerai was in Paris, previous to his departure for the South of France and afterwards for Algeria, in both of which provinces he fulfilled the functions of prefect, he must have spent no less than fifty thousand francs on his favourite floral ornament, for he frequently changed it twice a day, and its price, especially in the thirties and earlier part of the forties, was not less than five francs.

It is, therefore, not surprising that he resented the usurpation of his t.i.tle. M. Lautour-Mezerai was one of the most elegant men I knew. He not only belonged to a very good provincial stock, but his family on both sides counted some eminent names in literature.[20] He was a most charming companion, exceedingly generous; but he would not have parted with the flower in his b.u.t.ton-hole for any consideration, not even to oblige his greatest friend, male or female. It was more than an ornament to him, he looked upon it as a talisman. He always occupied the same place at the Opera, in the balcony, or what we call the "dress-circle,"

and many a covetous glance from the brightest eyes was cast at the dazzling white camellia, standing out in bold relief against the dark blue coat, but neither glances nor direct requests had any effect upon him. He became absolutely savage in his refusal when too hardly pressed, because, by his own admission, he was superst.i.tious enough to believe that, if he went home without it, something terrible would happen to him during the night.

[Footnote 20: Curiously enough, he belonged to the same department, and died almost on the very spot where Marin Plessis was born.--EDITOR.]

M. Lautour-Mezerai was, however, something more than a mere man of fashion. To him belongs the credit of having founded--at any rate in France--the children's periodical. For the comparatively small subscription of six francs per annum, thousands of little ones received every month a number of the _Journal des Enfants_, st.i.tched in blue paper, and with their own name on the wrapper. It flattered their pride to be treated like their elders by having their literature despatched to them in that way, and there is no doubt that this ingenious device contributed, to a certain extent, to the primary and enormous success of the undertaking. But M. Lautour-Mezerai was too refined a litterateur to depend upon such a mere trick, and a look at even the earlier numbers of the _Journal des Enfants_, would prove conclusively that, in the way of amusing children while instructing them a little, nothing better has been done since, whether in France, England, or Germany. The editor and manager succeeded in grouping around him such men as Paul Lacroix (_le bibliophile Jacob_) and Charles Nodier, both of whom have never been surpa.s.sed in making history attractive to young minds. emile Souvestre, Leon Gozlan, Eugene Sue, and even Alexandre Dumas told them the most wonderful stories. The men who positively kept the adult population of France spellbound by their stirring romances seemed to take a delight in competing with women like Virginie Ancelot, the d.u.c.h.esse d'Abrantes, and others on the latter's ground. As a consequence, it became the fashion to present the young ones on New Year's Day with a receipt for a twelvemonth's subscription, made out in their names, instead of the everlasting bag of sweets. At one time the circulation of _Le Journal des Enfants_ was computed at 60,000, and M. Lautour-Mezerai was said to make 100,000 francs per annum out of it.

In a former note, I incidentally mentioned Auguste Lireux. He is scarcely remembered by the present generation of Frenchmen; I doubt whether there are a hundred students of French literature in England who know his name, let alone his writings: yet he is worthy of being remembered by both. He had--what a great many French writers of talent, far greater than his own, essentially lack--humour. True, the latter was not subtle; but it was rarely, if ever, coa.r.s.e. The nearest approach to him among the journalists of the present day is M. Francisque Sarcey; but the eminent dramatic critic has had a better education.

Nevertheless, if Lireux had finished as he began, he would not be so entirely forgotten. Unfortunately for his fame, if not for his material welfare, he took it into his head to become a millionnaire, and he almost succeeded; at any rate, he died very well off, in a beautiful villa at Bougival.

I remember meeting with Lireux almost immediately after he landed in Paris, at the end of '40 or the beginning of '41. He came, I believe, from Rouen; though, but for his accent, he might have come from Ma.r.s.eilles. Tall, well-built, with brown hair and beard and ruddy complexion, a pair of bright eyes behind a pair of golden spectacles, very badly dressed, though his clothes were almost new, very loud and very restless, his broad-brimmed hat c.o.c.ked on one side, he gave one the impression of what in Paris we used to call a "departemental oracle."

He was that to a certain extent, still he was not really pompous, and the feeling of discomfort one experienced at first soon wore off. He was not altogether unknown among the better cla.s.s of journalists in the capital, for it appears that he frequently contributed to the Paris papers from the provinces. He had a fair knowledge of the French drama theoretically, for he had never written a piece, and openly stated his intention never to do so. But in virtue of his dramatic criticisms in several periodicals--which, in spite of the difference in education between the two men, read uncommonly like the articles of M. Sarcey in the _Temps_--and his unwavering faith in his lucky star, he considered himself destined not only to lift the Odeon from the slough in which it had sunk, but to make it a formidable rival to the house in the Rue de Richelieu. He had no ambition beyond that. The Odeon was really at its lowest depth. Harel had enjoyed a subsidy of 130,000 francs, M. d'Epagny eleven years later had to content himself with less than half, and yet the authorities were fully cognizant of the necessity of a second Theatre-Francais. Whether from incapacity or ill-luck, M. d'Epagny did not succeed in bringing back the public to the old house. The direction was offered then to M. Hippolyte Lucas, the dramatic critic of _Le Siecle_, and one of the best English scholars I have ever met with among the French, and, on his declining the responsibility, given to Lireux, who for the sake of making a point, exclaimed, "Directeur!... au refus d'Hippolyte Lucas!"[21]

[Footnote 21: An imitation of the line of Don Carlos in Hugo's "Hernani": "Empereur!... au refus de Frederic-le-Sage!"--EDITOR.]

It was a piece of bad taste on Lireux's part, because M. Lucas was his superior in every respect, though he would probably have failed where the other succeeded--at least for a while. Save for this mania of saying smart things in and out of season, Lireux was really a good-natured fellow, and we were all glad that he had realized his ambition. The venture looked promising enough at the start. He got an excellent company together, comprising Bocage, Monrose, Gil-Peres, Maubant, Mdlles. Georges and Araldi, Madame Dorval, etc.; and if, like young Bonaparte's troops, they were badly paid and wanted for everything, they worked with a will, because, like Bonaparte, Lireux inspired them with confidence. He, on the other hand, knew their value, and on no pretext would allow them to be ousted from the positions they had honourably won by their talents and hard work. Presumptuous mediocrity, backed either by influence or intrigue, found him a stern adversary; the intriguer got his answer in such a way as to prevent him from returning to the charge. One day an actor of reputed incapacity, Machanette, claimed the t.i.tle-role in Moliere's "Misanthrope."

"You have no one else to play Alceste," he said.

"Yes, I have. I have got one of the checktakers," replied Lireux.

Auguste Lireux was one of those managers the race of which began with Harel at the Porte Saint-Martin and Dr. Veron at the Opera. Duponchel, at the latter house, Montigny at the Gymnase, Buloz and a.r.s.ene Houssaye at the Comedie-Francaise, endeavoured as far as possible to follow their traditions of liberality towards the public and their artists, and encouragement given to untried dramatists. It was not Lireux's fault that he did not succeed for any length of time. Of course, there is a ridiculous side to everything. During the terrible cholera visitation of 1832, Harel published a kind of statistics, showing that not a single one of the spectators had been attacked by the plague; but all this cannot blind us to the support given to the struggling playwright, Dumas, in the early part of his career. During the winter of 1841-'42, which was a severe one, Lireux sent foot-warmers to the rare audience that patronized him on a bitterly cold night, "when tragedy still further chills the house"; the little bit of charlatanism cannot disturb the fact of his having given one of the foremost dramatists of the day a chance with "La Cigue." I am alluding to the first piece of emile Augier.

This kind of thing tells with a general public, more so still with a public composed of generous-minded, albeit somewhat riotous youths like those of the Quartier-Latin in the early forties. Gradually the latter found their way to the Odeon, "sinon pour voir la piece, alors pour entendre Lireux, qui est toujours amusant"; which, in plain language, meant that come what may they would endeavour to provoke Lireux into giving them a speech.

Flattering as was this resolve on their part to Lireux's eloquence, the means they employed to encompa.s.s their end would have made the existence of an ordinary manager a burden to him. But Lireux was not an ordinary manager; he possessed "the gift of the gab" to a marvellous degree: consequently he made it known that he would be happy at any time to address MM. les etudiants without putting them to the expense of apples and eggs on the evening of the performance, and voice-lozenges the next day, if they, MM. les etudiants, would in return respect his furniture and the dresses of his actors. The arrangement worked exceedingly well, and for four years the management and the student part of the audience lived in the most perfect harmony.

Lireux did more than that, he forestalled their possible objections to a doubtful episode in a play. I remember the first night of "Jeanne de Naples." The piece had dragged fearfully. Lireux had made three different speeches during the evening, but he foresaw a riot at the end of the piece which no eloquence on his part would be able to quell. It appears--for we only found this out the next day--that the condemned woman, previous to being led to execution, had to deliver a monologue of at least a hundred and fifty or two hundred lines. The unhappy queen had scarcely begun, when a herculean soldier rushed on the stage, took her into his arms and carried her off by main force, notwithstanding her struggles. It was a truly sensational ending, and the curtain fell amidst deafening applause. It redeemed the piece!

Next day Lireux made his appearance at Tortoni's in the afternoon, and, as a matter of course, the production of the previous evening was discussed.

"I cannot understand," said Roger de Beauvoir, "how a man with such evident knowledge of stagecraft as the author displayed in that denoument, could have perpetrated such an enormity as the whole of the previous acts."

Lireux was fairly convulsed with laughter. "Do you really think that was his own invention?" he asked.

"Of course I do," was the reply.

"Well, it is not. His denoument was a speech which would have taken about twenty minutes, at the end of which the queen is tamely led off between the soldiers. I know what would have been the result: the students would have simply torn up the benches and Heaven knows what else. You know that if the gas is left burning, if only a moment, after twelve, there is an extra charge irrespective of the quant.i.ty consumed.

I looked at my watch when she began to speak her lines. It was exactly thirteen minutes to twelve; she might have managed to get to the end by twelve, but it was doubtful. What was not doubtful was the row that would have ensued, and the time it would have taken me to cope with it.

My mind was made up there and then. I selected the biggest of the supers, told him to go and fetch her, and you know the rest."

There were few theatrical managers in those days who escaped the vigilance of Balzac. Among the many schemes he was for ever hatching for benefiting mankind and making his own fortune, there was one which can not be more fitly described than in the American term of "making a corner"; only that particular "corner" was to be one in plays.

About two years before the advent of Lireux, and when the house at Ville d'Avray, of which I have spoken elsewhere, was completed, a party of literary men received an invitation to spend the Sunday there. It was not an ordinary invitation, but a kind of circular-letter, the postscriptum to which contained the following words: "M. de Balzac will make an important communication." Leon Gozlan, Jules Sandeau, Louis Desnoyers, Henri Monnier, and those familiar with Balzac's schemes, knew pretty well what to expect; and when La.s.sailly, one of the four men whose nose vied with the legendary one of Bouginier, confirmed their apprehensions that it was a question of making their fortunes, they resigned themselves to their fate. Jules Sandeau, who was gentleness itself, merely observed with a sigh that it was the fifteenth time Balzac had proposed to make him a millionnaire; Henri Monnier offered to sell his share of the prospective profits for 7 francs, 50 centimes; Leon Gozlan suggested that their host might have discovered a diamond mine, whereupon Balzac, who had just entered the room, declared that a diamond mine was nothing to it. He was simply going to monopolize the whole of the Paris theatres. He exposed the plan in a magnificent speech of two hours' duration, and would have continued for two hours more had not one of the guests reminded him that it was time for dinner.

"Dinner," exclaimed Balzac; "why, I never thought of it."

Luckily there was a restaurant near, and the future millionnaires and their would-be benefactor were enabled to sit down to "a banquet quite in keeping, not only with the magnificent prospects just disclosed to them, but with the splendour actually surrounding them," as Mery expressed it.