Without going the lengths that Mr Gutzkow does, or by any means coinciding in his sweeping censure of the artists who now furnish forth the Italian theatres of London and Paris, we doubt whether it is not fashion, as much as the excellence of the music, that draws the élite of French and English society to the Haymarket and the Salle Ventadour, and whether a German company of equal intrinsic merit would receive adequate patronage and encouragement in either capital, supposing even that they were allowed their choice of operas, and had the benefit of a handsome theatre and an able management. Certainly they would not get the enormous salaries which, in combination with the greediness of managers, and the manœuvres of ticket-sellers, render the enjoyment of a good opera, in London at least, a luxury attainable but by an exceedingly limited class.
Although the prices of admission to most of the Paris theatres are moderate, they are occasionally raised by illegitimate stratagems. This is especially the case when a new piece is performed from which much is expected, or concerning which, by puffery or for other reasons, the public curiosity has been greatly excited. On such occasions, the first few representations are sometimes rendered doubly and even trebly productive. The prices cannot be raised at the theatre itself without express permission from the authorities, and as this is seldom granted, another plan is resorted to. The box-office is transferred de facto from the corridor of the theatre to the open street. Whoever applies for tickets is told that there is not one left to any part of the house. Nothing then remains but to have recourse to the ticket-brokers, who carry on their disreputable commerce in the streets or at the wine-shops. In the Rue Montmartre, within a few doors of the Boulevard, there is a marchand de vin, whose establishment is a grand rendezvous of these gentry. They are the agents of the managers of the theatres. The latter sell all the tickets to themselves a fortnight beforehand, inscribing on the coupons the names of imaginary buyers, and then distribute them amongst the brokers, who sell them in front of the theatre to eager theatrical amateurs, as a great favour, and as the last obtainable tickets, at two or three times the regulation price. The theatre pockets the profits, minus a brokerage. In this manner a first representation at the large theatre of the Porte St Martin may be made to yield ten thousand francs. When a theatre is out of vogue, and filling poorly, the same system is adopted; but in the contrary sense. The marchands de billets are provided with tickets which they sell at less than the established price.
When De Balzac's drama, Les Expédients de Quinola, was brought out at the "Odeon," he compounded to receive the proceeds of the first three nights, in lieu of a share of each representation whilst the piece should run. The play had been greatly talked of, the steam had been got up in every way, and the public was in a fever. It is customary enough in Paris for dramatic authors, in order at once to get paid for their labours, to barter their droits d'auteur for the entire profits of the first representations. Scribe does it at the Français. When the tickets are sold at the usual prices, this financial arrangement is regular enough, and concerns nobody but author and manager. But that would not satisfy Balzac, who is notorious for his avarice. He set the brokers to work, and drove the prices up to the highest possible point, fifteen francs for a stall, instead of five, a hundred francs for a box and so forth. "Under such circumstances," says Mr Gutzkow, "it cannot be wondered if people forgot Eugenie Grandet and the Père Goriot, and hissed his play. To-day, nearly a hundred criticisms of Quinola have appeared. It is my belief, that, instead of reading them, Balzac is counting his five-franc pieces." The drama fell from want of merit as well as from the indignation excited by the author's greed. Although Balzac's books are read and admired—some of them at least—personally he is most unpopular. He is accused, and not without reason, of arrogance and avarice. His assumption and conceit are evident in his works. He has sacrificed his fame to love of gold; for one good book he has produced two that are trash; by speculating on his reputation, he has undermined and nearly destroyed it. Moreover, he has committed the enormous blunder of affecting to despise the press, which consequently shows him no mercy. For a fortnight after the appearance of Quinola—which, although defective as a dramatic composition, was not without its merits—the unlucky play served as a daily laughing-stock and whipping-post to the battalion of Parisian critics. Janin led the way; a host of minor wasps followed in his wake, and threw themselves with deafening hum and sharp sting against the devoted head of M. de Balzac. He bore their aggravating assaults with great apparent indifference, consoled for want of friends by well-lined pockets.
At the "Ambigu Comique," Mr Gutzkow attended a performance of the Mousquetaires, a melo-drama founded on Dumas's romance of Vingt Ans Après. Its success was prodigious; it was performed the whole of last winter and spring, upwards of one hundred and fifty nights, always to crowded houses. The novel was dramatised by Dumas himself, with the assistance of one of his literary subordinates, M. Auguste Maquet. One or two of the actors at the "Ambigu" are to form part of the troop at M. Dumas's new theatre, now erecting, and which will open, it is said, this autumn. It is built by a company, and Dumas has engaged to write for it a certain number of plays yearly. The Duke of Montpensier gives it his name.
It will be the twenty-third theatre in Paris. Mr Gutzkow lifts up his hands and eyes in astonishment and admiration. "And this is granted," he says, "to that same Alexander Dumas, who, two years ago, publicly declared, that the stage and modern literature, in France especially, suffer from the indifference of the king!" He proceeds to compare this good-humoured facility with the scanty amount of encouragement given to theatricals in Prussia, with which he appears as moderately satisfied as with various other matters in the Fatherland. In Berlin, he says, although another theatre is sadly wanted, there is little chance of its being conceded either to a dramatic author or to any one else. But to follow him in his complaints, would lead us from Paris.
It is somewhat strange that Mr Gutzkow, himself a dramatist, and who tells us that his chief object in visiting Paris was to see the remarkable men of France, did not make the acquaintance of M. Dumas. We infer, at least, that he did not, for the above passing reference is all that his book contains touching the distinguished author of Angèle and Antony, of Monte Christo and the Mousquetaires. To numerous other littérateurs, of greater and less merit, he sought and obtained introductions, and of them gives minute and interesting details. In Germany, as in England, Dumas is better known and more popular than any other French novelist; but, independently of that circumstance, as a brother dramatist, we wonder Mr Gutzkow neglected him. Perhaps, since he blames Balzac for overproduction, and speaks with aversion to the system of bookmaking, he eschewed the society of Dumas for a similar reason. Balzac is believed, at any rate, to write his books himself, although they suffer from haste; but Dumas has been openly and repeatedly accused of having his books written for him, and of maintaining a regular establishment of literary aide-de-camps, perpetually busied in the fabrication of tale, novel, and romance, whose productions he copies and signs, and then gives to the world as his own. His immense fertility has been the origin of this charge, which may be false, although appearances are really in favour of its truth. It seems physically impossible that one man should accomplish the mere pen and ink work of M. Dumas's literary labours; and even if, like Napoleon, he had the faculty of dictating to two or three different secretaries at once, it would scarcely account for the number of volumes he annually puts forth. From a clever but violent pamphlet, published in Paris in the spring of 1845, under the title of Fabrique de Romans; Maison Alexander Dumas & Cie. we extract the following statement, which, it cannot be denied, is plausible enough:—
"It is difficult to assign limits to the fecundity of writer, and to fix the number of lines that he shall write in a given time. Romance-writing especially, that frivolous style, has a right to travel post, and to scatter its volumes in profusion by the wayside. Nevertheless, time must be taken to consider a subject, to arrange a plan, to connect the threads of a plot, to organize the different parts of a work; otherwise one proceeds blindfold, and finishes by getting into a blind alley, or by meeting insurmountable obstacles. Allowing for these needful preparations, supposing that an author takes no more repose than is absolutely necessary, eats in haste, sleeps little, is constantly inspired; in this hypothesis, the most skilful writer will produce perhaps fifteen volumes a-year—fifteen volumes, do you hear, Monsieur Dumas? And, even in this case, he will assuredly not write for fame; we defy him to chasten and correct his style, or to find a moment to look over his proofs. Ask those who work unassisted; ask our most fertile romance-writers, George Sand, Balzac, Eugène Sue, Frédéric Soulié; they will all tell you, that it is impossible to reach the limit we have fixed; that they have never attained it.
"You, M. Dumas, have published thirty-six volumes in the course of the year 1844; and for the year 1845, you announce twice as many.
"Well, we make the following simple calculation:—The most expert copyist, writing twelve hours a-day, hardly achieves 3900 letters in an hour, which gives, per diem, 46,800 letters, or sixty ordinary pages of a romance. At that rate he can copy five octavo volumes a month, and sixty in a year, but he must not rest an hour or lose a second. You, Monsieur Dumas, are a penman of first-rate ability. From the 1st of January to the 31st of December you work regularly twelve hours a-day, you sleep little, you eat in haste, you deprive yourself of all amusements, you hardly travel at all, you are never seen out of your house: consequently, if we suppose that your dramatic compositions, the bringing out of your plays, your correspondence with newspapers and theatres, importunate visitors, a few casual articles—as, for example, your letters in the Democratie Pacifique; (a series of five letters containing a fierce attack on the Théatre Français, and on its administrator M. Buloz)—supposing, we say, that all these various occupations monopolize only one half of your time, we understand that you may have copied thirty volumes in the course of the year 1844—but only thirty! the six others must have been the result of your son's labours. Now, if you are going to publish twice as much this year as you did during the last one, how will you manage? You must either give up sleeping, and work the twenty-four hours through, or you must teach your manufacturers to imitate your hand-writing. There is no other plan possible. To deliver your manuscripts to the printers as they are delivered to you, would be to furnish proofs against yourself."
The author of this pamphlet is himself a novelist, and allowance must be made for his jealousy of a successful rival. But there are grounds for his attack. M. Dumas is known to work hard: literary labour has become a habit and necessity of his life; but he is not the man to chain himself to the oar and renounce all the pleasures of society and of Paris, even to swell his annual budget to the enormous sum which it is reported, and which he has indeed acknowledged it, to reach. We have seen works published under his name, whose perusal convinced us that he had had little or nothing to do with their composition or execution. The internal evidence of others was equally conclusive in fixing their bona fide authorship upon their reputed author. Au reste, Dumas troubles himself very little about his assailants, but pursues the even tenor of his way, careless of calumniators. The most important point for him is, that his pen, or at least his name, should preserve its popularity; and this it certainly does, notwithstanding that his enemies have more than once raised a cry that "le Dumas baisse sur la place." On the contrary, the article, whether genuine or counterfeit, was never more in demand, both with publishers and consumers. In Paris, as Mr Gutzkow says, every thing is a speciality; it requires half a dozen different shops to sell the merchandise that in England would be united in one. One establishment deals in lucifer-matches and nothing else; chips and brimstone form its whole stock in trade: it is the spécialité des allumettes chimiques. Yonder we find a spacious magasin appropriated to glove-clasps; here is another where clysopompes are the sole commodity. We were aware of this peculiarity of French shopkeeping, but were certainly not prepared to behold, as we did on our last visit to Paris, a shop opened upon the Place de la Bourse, exclusively for the sale of Monsieur Dumas's productions. This, we apprehend, is the ne plus ultra of literary fertility and popularity. "Le Dumas" has become a commercial spécialité. The bookseller who wishes to have upon his shelves all the productions of the author of the Corricolo, must no longer think of appropriating any part of his space to the writings of others; or if he persists in doing so, he had better take three or four shops, knock down the partitions, and establish a magasin monstre, like those of which ambitious linendrapers have of late years set the fashion in the Chaussée d'Antin and Rue Montmartre. Curiosity prompted us to enter the Dumas shop and procure a list of its contents. The number of volumes would have stocked a circulating library. We were gratified to find—for we have always taken a strong interest in Alexander Dumas, some of whose bettermost books we have honoured with a notice in Maga—that several of his works were out of print. On the other hand, five or six new romances, from two to four volumes each, were, we were informed by the obliging Dumas-merchant, on the eve of appearing. It was a small instalment of the illustrious author's annual contribution to the fund of French belles lettres.