This was enough to settle finally a struggle that had tormented me for many weeks. I had come to Paris determined to fit myself for magazine work along historical and biographical lines; but once close to the world of the scholar, surrounded by men and a few women who lived stern, self-denying lives in order to master a field however small I was seized with an ambition to be a scholar. It was a throwback to my old passion for the microscope. I would specialize in the French Revolution—I would become a professor.
But Mr. Burlingame’s answer to my inquiry as to whether the Scribner company would be friendly to a biographical study of my lady settled the matter; which shows, I take it, how shallow my scholarly ambitions really were.
The Scribner connection was not the only one putting heart into me. Among my early trial balloons was one marked for McClure’s Syndicate, New York City. It carried an article of two thousand words with a catchy title—“The King of Paris”—cribbed from a French newspaper. It was the story of Jean Alphand and his services to the city. The balloon reached its destination. The article was promptly accepted with a promise of $10 when it was published, also a suggestion that they would be glad to consider other subjects if I had them to offer—which I did. Indeed, I gave them no time to forget me; not that they took all I hustled across the Atlantic, but they took enough to make me feel that this might be a stable and prosperous market for short and timely articles. When suggestions finally began to come from them I felt the ground firmer on my feet. One of these suggestions led me into an especially attractive new field, and in the long run had important bearing on my major interest, Madame Roland. It was that I try a series of sketches of French women writers. There was a respectable group of them, and I asked nothing better than to look them up.
I began with a woman who at that time was introducing leading contemporary English and American writers to the French through the Revue des deux Mondes—Madame Blanc, her pen name Théodore Bentzon, a person of rare distinction and of gallant soul. She had been a lady in waiting at Napoleon III’s court, had made an unfortunate marriage, was now living on a small income and what she could earn by writing. In her salon there was a portrait taken in her young womanhood which charmed me, but when I spoke of it she shook her head as if she did not want to remember it. “Une femme qui n’existe plus,” she said.
Hard worker as Madame Blanc was, she found time to start me on my rounds among the French women writers. I doubt if there was an American writer of our day who would have had both the kindness of heart and the sureness of herself to take so much trouble for an unknown woman. She started me off, and I turned out ten or a dozen little pieces before I was through. With one of my subjects I had an amusing flirtation—I think I may call it a flirtation. This was Madame Dieulafoy who with her husband had done eminent work in archaeology, and who had a roomful of exhibits in the Louvre to her credit—a very great person indeed. Madame Dieulafoy was the only woman I had ever seen at that time who wore men’s clothes. It had been found necessary to put her into trousers for excavating work, and she liked them so well and Monsieur Dieulafoy loved her so in them that they had obtained permission from the French Government for her to wear them in Paris. From more than one source I heard of the sensation she created among servants when she came to call. They abandoned their duties to peep from dark places at the woman in men’s clothes.
Madame Dieulafoy and I grew friendly over the history of the exploits of women in the world, and it took no time at all for me to decide to write the history of women from Eve up, as if I had not already enough on my hands. She applauded my idea, gave me many suggestions, but it never went any further than my few visits, which as I say were more or less flirtations. She was such a pretty little man, so immaculate (the best tailors in Paris did her, I was told), that I could not keep admiring eyes off her. She used her eyes, too, and loved to pat me on the knee, partly I suppose because I always blushed when she did it. It was an amusing acquaintance and a profitable one to me, for she was as interested in my plans for articles as if I had been one of her own.
Another woman who interested me greatly was Judith Gautier. My interest was stirred by my indignation that her name had been left off the list of living women distinguished in French literature sent to the Chicago Exposition of 1893. There was much speculation among my friends as to how it happened. My own conclusion was that it was because of her long and impassioned devotion to the music of Richard Wagner.
The first Wagner opera to be given in Paris was “Tannhäuser.” This was in the early sixties, when Judith Gautier was about fourteen years old. She went to the opera with her father—Théophile Gautier—and was enthusiastic although the house received it coldly. As they were walking home a little fellow with hollow cheeks, eagle nose, and very bright eyes joined them. He rejoiced with cheerful violence over the failure of the opera. The girl, angered, forgot her manners and blurted out, “It is clear, sir, that you know you have heard a masterpiece, and that you are talking of a rival.”
“Do you know who that was, saucebox?” her delighted father asked as they passed on.
“No, who?”