"It is a pretty far cry from Paris to Omaha, but Trilby's voice seems to have carried that distance without the least trouble. It is worth remarking that these Omaha gentlemen made seven 'papers' about her without finding it necessary to discuss her morals."
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Of the many "Trilby" entertainments in New York one of the most successful was given in May, at the house of Postmaster Dayton, for the benefit of St. Luke's Home for Indigent Christian Females. A literary criticism of the book was read, and one of the chapters of the story; and the songs that are oftenest alluded to were sung. The affair was given under the auspices of the Daughters of the Revolution.
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"Trilby's" wide popularity—in the sense that many people who are not, ordinarily, novel-readers take a lively interest in it—is evidenced by many indications, not the least significant being the concerts made up from the music mentioned in the novel. One such was given in San Francisco last December, under the management of the ladies of the Mercantile Library Auxiliary and for the benefit of the Library's unfortunately slender exchequer. According to The Argonaut, a very interesting program was presented, including Schubert's "Rosamonde," Adam's "Cantique de Noël," Chopin's Impromptu in A flat, "Bonjour Suzon," "Le Capitaine Roquefinette" and the much-discussed "Ben Bolt."
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"Trilby" representations have broken out in all sorts of strange places. At the Eden Musée, New York, Miss Ganthony has been restrained from impersonating du Maurier's heroine; and at "The Greatest Show on Earth," Miss Marie Meers, who has not been restrained, appears nightly in Trilby costume, riding bareback (not barefoot) around the tan-bark to the snapping of ringmaster Svengali's whip.
Miscellanea
Mr. du Maurier and Mr. James took a walk together, one day, and the artist unfolded to the novelist the plot of "Trilby," suggesting that he should use it in a novel. Mr. James persuaded him to write the story himself. He did so; and what has been the result? Think of the time and skill, the money and material that have been employed in putting the thing in type, preparing its illustrations, printing it as a serial and reprinting it in book-form; in dramatizing it, burlesquing it in books and on the stage, in adapting its songs and illustrations for reproduction on lecture-platforms and in drawing-rooms, and in translating and publishing Nodier's tale, from which the author took his title! Its presentation has given employment, onerous or enjoyable, honorary or remunerative, to thousands; hundreds of thousands have read it, and hundreds of thousands seen it on the stage; and its leading characters—Trilby, Svengali and "the three musketeers of the brush"—have become household names and personalities. It has enriched its author, added to the wealth of its publishers, put money in the purses of playwright and manager and replenished the treasuries of more than one excellent charity. Directly or indirectly, no doubt, it has caused much more than a million dollars to change hands within the past eighteen months. And last but not least, it is responsible for this pamphlet, in which is chronicled the story of its rise and progress.
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