My mother's little capital only lasted eighteen months, and I found myself forced to supplement my salary by other work. I had until now collaborated with Adolphe, but all in vain, and we now determined to associate Ph. Rousseau with our efforts. The three of us together quickly produced a vaudeville in twenty-one scenes, "La Chasse et l'Amour," of which I wrote the first seven scenes, Adolphe the second seven, and Rousseau the conclusion. The piece was rejected at the Gymnase, but accepted at the Ambigu; and my share of the profits came to six francs a night.
A.M. Porcher, who always had a pleasant welcome and an open purse for a literary man, lent me 300 francs on the security of my receipts, and with that money I printed a volume of three stories under the title of "Nouvelles Contemporaines," of which, however, only four copies were sold. But the next adventure was more profitable. A play, by Lassagne and myself, "La Noce et l'Enterrement," was presented at the Porte-Sainte-Martin in November 1826, and brought me eight francs a night for forty nights.
III.--Under Shakespeare's Spell
As recently as 1822 an English theatrical company, which had opened at the Porte-Sainte-Martin Theatre, had been hissed and pelted off the stage for offering the dramas of the barbaric Shakespeare. But when, in September 1827, another English company brought Shakespeare's plays to the Odéon, this contempt for English literature had changed to ardent admiration--so quickly had the mind of Paris broadened. Shakespeare had been translated by Guizot, and everyone had read Scott, Cooper, and Byron.
The English season was opened by Sheridan's "Rivals," followed by Allingham's "Fortune's Freak." Then came "Hamlet," which infinitely surpassed all my expectations. Kemble's Hamlet was amazing, and Miss Smithson's Ophelia adorable. From that very night, but not before, I knew what the theatre was. I had seen for the first time real men and women, of flesh and blood, moved by real passions. I understood Talma's continual lament, his incessant desire for plays which should show him, not as a hero only, but also as a man. "Romeo and Juliet," "Othello," and all the other masterpieces followed. Then, in their turn, Macready and Kean appeared in Paris.
I knew now that everything in the world of drama derives from Shakespeare, as everything in the natural world depends on the sun; I knew that, after God, Shakespeare was the great creator. And from the night when I had first seen, in these English players, men on the stage forgetful of the stage, and revealing themselves, by natural eloquence and manner, as God's creatures, with all their good and evil, their passions and weaknesses, from that night my vocation was irrevocable. A new confidence was given me, and I boldly adventured on the future. Besides observing mankind, I entered with redoubled zest upon the dissection and study of the words of the great dramatists.
My attention had been turned to the story of Christine and the murder of Monaldeschi by an exquisite little bas-relief in the Salon; and reading up the history in the biographical dictionary, I saw that it held the possibility of a tremendous drama. The subject haunted my mind continually, and soon my "Christine" came into life and was written. But Talma was dead; I had now no friend at the theatre; and I cast about me in vain for the means of getting my play produced.
Baron Taylor was at this time the official charged with the acceptance or rejection of plays, and Charles Nodier, so Lassagne informed me, was on intimate terms with him. Lassagne suggested that I should write to Nodier, reminding him of our chat on the night of "The Vampire," and asking for an introduction to the Baron. I did so, and the reply came from Baron Taylor himself, offering me an interview at seven in the morning.
At the appointed time, my heart beating fast, I rang the bell of his flat, and as I waited for someone to come, I wondered at a strange noise that was going on within--a deep, monotonous recitation, interrupted by occasional explosions of rage in a higher voice. I rang for the third time, and as a door opened within, the mysterious sounds doubled in volume. Then the outer door opened, and the Baron's old servant hurried me in. "Come in, sir," she said, "come in; the Baron is longing for you to come!" I found Baron Taylor in his bath, and beside him a playwright reading a tragedy. The fellow had insisted on entering, had caught the examiner of plays in his bath, and was inflicting on him a play of over two thousand lines! Undaunted by the Baron's rage, and unmoved by my arrival, he proceeded with his reading, while I waited in the bedroom.
When Baron Taylor at last came in and got into bed, he was shivering with cold, and I proposed to put off my reading; but he would not hear of it, and trembling, I began my play. At the end of each act the Baron himself asked for the next, and when it was finished he leapt from bed and called for his clothes that he might go and arrange for an immediate hearing before the committee at the Français.