[CHAPTER XV]
The reading of Henri III. at M. Villenave's and M. Roqueplan's—Another reading at Firmin's—Béranger is present—A few words about his influence and popularity—Effect produced by my drama—Reception by the Comédie-Française—Struggle for the distribution of parts—M. de Broval's ultimatum—Convicted of the crime of poetry I appeal to the Duc d'Orléans—His Royal Highness withholds my salary—M. Laffitte lends me three thousand francs—Condemnation of Béranger
The execution of Henri III. was, relatively speaking, rapid; as soon as the plot was completely settled in my mind it scarcely took me two months to finish the work. I recollect that, in the interval between the composition of the plot and the execution of the piece, I went to Villers-Cotterets, to shoot, I believe; on my return, I started before the carriage, and my young friends, Saunier, Labarre and Duez, put me on my way as far as the village of Vauciennes. During our walk I told them the whole of Henri III. from beginning to end. Henri III. was completed directly the plot was completed. When I am busy working at one of my plays it is a help to me to tell the story; as I tell it I invent, and, at the conclusion of one of these recitals, some fine morning, there the play is, ready finished. But it often happens that this way of composing, namely, by not beginning the composition until I have finished the plot, is very slow. I kept Mademoiselle de Belle-Isle nearly five years thus in my head, and since 1832 I have had the plot of a Juif errant in my mind, waiting till I can get a moment's leisure to finish it; it will be one of my best pieces of work. I have only one fear, and that is that I shall die before I can get it done.
When I had finished Henri III. I read it to a small circle of friends at Madame Waldor's. The play made a great impression; but the unanimous advice was that I ought to have Christine produced first. They said that Henri III. was too daring for a first production. I need hardly say that M. Villenave thought all these new movements in literature monstrous aberrations of the human intellect. It was the period when an entirely fresh generation was springing up around us and with us. Several journals had just been begun by men of our age, full of the new ideas then afloat, in opposition to the views of the Constitutionnel, the Courrier français, the Journal de Paris and the Journal des Débats, which from that time reserved the whole of its praise for Victor Hugo.
These journals were the Figaro and the Sylphe. They were edited by Nestor Roqueplan, Alphonse Royer, Louis Desnoyers, Alphonse Karr, Vaillant, Dovalle and a dozen other bold champions of the Romantic school. I invited them all to meet in Nestor Roqueplan's rooms, also asking Lassagne and Firmin to join us. In those days Nestor Roqueplan was not magnificently lodged in his apartments at the Opéra; his salons were not ornamented by Boule, nor were the corner-stones from Coromandel. He had a small room on the fifth floor, with a chimneypiece ornamented with a washhand basin, in lieu of a clock, and duelling pistols instead of candlesticks. Nearly a score of us were packed in this room; we laid out the mattresses from the bed on the floor to form divans; we transformed the bedstead into a sofa. I stood before a table lit by plain candles; the kettle was put on the fire so that each act could be divided by a cup of tea—and I began. This time, I was dealing with men of daring opinions, and their advice was therefore exactly the opposite: they all declared with one accord that I ought to abandon Christine to her unhappy lot and to push forward Henri III. Firmin was enchanted; he could understand the part of Saint-Mégrin much better than he had been able to enter into that of Monaldeschi. He undertook to ask for a reading for me and to hurry one forward. In the meantime, if I were willing, he would gather his fellow-actors together at his own house, so that I could read my play to them before the definitive reading at the Théâtre-Français. I felt beside myself with my success; I would have read it fifty times had I been asked to do so. I placed myself in his hands and told him to do whatever he wished. As I was going away, Lassagne caught me by the arm.
"My friend," he said, "you were only half right in the matter of Christine; you are altogether right in Henri III."
Firmin fixed the reading for the following Thursday; it was necessary that Béranger should be present at it. You must understand the import of those few words, "It was necessary that Béranger should be present at it!" Béranger was the hero of the hour; of him Benjamin Constant had just said, "Good old Béranger! he thinks he is writing chansons and really he is composing odes!" This mot had gone round, it hit the mark so deliciously, and the whole of the Liberal party had pronounced Béranger to be the greatest poet of his age. This partisanship had roused some opposition, but the only effect was to carry enthusiasm to the utmost pitch. Please, let me make it clear that I do not wish to convey the impression that Béranger was overrated, but I think it was rather unjust on the others; and by the others I mean Lamartine and Hugo. They also composed odes, admirables odes, too, and no one went so far as to say that they could not also compose chansons. The explanation was that Lamartine and Hugo were both out-and-out members of the Royalist party, and the Royalist party was far from representing the opinion of the majority. Now, this popular enthusiasm was not on account of Béranger as a poet pure and simple; it was for Béranger as a national poet, for Béranger as the author of the Vieux Drapeau, the Dieu des bonnes gens, the Grand'mère. Here the instincts of the masses were not at fault; they fully realised that Béranger was a fiery socialist, that each of his political chansons was the blow of a pickaxe aimed to undermine the foundations of the throne, and they applauded with hands and with voices the bold pioneer who dug the trench by which the people were, one day, to gain access to the Tuileries. Therefore, Béranger enjoyed an immense influence; all parties vied with each other as to who should gain Béranger to their side. They offered him the Cross and he refused it; they offered him a pension and he refused it; they offered him membership in the Academy and he refused it; no one became possessed of Béranger, but, on the contrary, Béranger gained the confidence of everybody in general and of Laffitte in particular.