The author had been confronted by the following dilemma, as stated by those experienced in such matters. If he introduced into the theatre twelve hundred "dead heads," the success secured by their applause would undoubtedly be questioned. If twelve hundred paying spectators were present, the success of the piece was almost out of the question. The author chose to run the risk of the latter alternative. Such is the history of this first representation, where so many people appeared to be made so uncomfortable by their elevation to the dignity of independent judges.
The author intends therefore to return to the beaten track, base and ignoble though it be, which prejudice has laid out as the only avenue to dramatic success; but it may not be unprofitable to state here, that the first representation of The Resources of Quinola actually redounded to the advantage of the claqueurs, the only persons who enjoyed any triumph in an evening entertainment from which their presence was debarred!
Some idea of the criticism uttered on this comedy may be gained from the fact that out of the fifty newspapers, all of which for the last twenty years have uttered over the unsuccessful playwright the hackneyed phrase, "the play is the work of a clever man who will some day take his revenge," not one employed it in speaking of The Resources of Quinola, which they were unanimous in consigning to oblivion. This result has settled the ambition of the author.
Certain persons, whose good auguries the author had done nothing to call forth, encouraged from the outset this dramatic venture, and thus showed themselves less critical than unkind; but the author counts such miscalculations as blessings in disguise, for the loss of false friends is the best school of experience. Nor is it less a pleasure than a duty thus publicly to thank the friends, like M. Leon Gozlan, who have remained faithful, towards whom the author has contracted a debt of gratitude; like M. Victor Hugo, who protested, so to speak, against the public verdict at the first representation, by returning to witness the second; like M. de Lamartine and Madame de Girardin, who stuck to their first opinion, in spite of the general public reprobation of the piece. The approval of such persons as these would be consoling in any disaster.
LAGNY, 2 April, 1842.
PERSONS OF THE PROLOGUE
Philip II., King of Spain
Cardinal Cienfuegos, Grand Inquisitor
The Captain of the Guards
The Duke of Olmedo
The Duke of Lerma
Alfonso Fontanares
Lavradi, known as Quinola
A halberdier
An alcalde of the palace
A familiar of the Inquisition
The Queen of Spain
The Marchioness of Mondejar
PERSONS OF THE PLAY
Don Fregose, Viceroy of Catalonia
Grand Inquisitor
Count Sarpi, secretary to the Viceroy
Don Ramon, a savant
Avaloros, a banker
Mathieu Magis, a Lombard
Lothundiaz, a burgess
Alfonso Fontanares, an inventor
Lavradi, known as Quinola, servant to Fontanares
Monipodio, a retired bandit
Coppolus, a metal merchant
Carpano, a locksmith
Esteban, workman
Girone, workman
The host of the "Golden Sun"
A bailiff
An alcalde
Faustine Brancadori
Marie Lothundiaz, daughter to Lothundiaz
Dona Lopez, duenna to Marie Lothundiaz
Paquita, maid to Faustine