DUMAS' CONTEMPORARIES
Among those of the world's great names in literature contemporary with
Dumas, but who knew Paris ere he first descended upon it to try his
fortune in its arena of letters, were Lamartine, who already, in 1820, had
charmed his public with his "Meditations;" Hugo, who could claim but
twenty years himself, but who had already sung his "Odes et Ballades," and
Chateaubriand.
Soulie and De Vigny won their fame with poems and plays in the early
twenties, De Musset and Chenier followed before a decade had passed, and
Gautier was still serving his apprenticeship.
It was the proud Goethe who said of these young men of the twenties, "They
all come from Chateaubriand." Beranger, too, "the little man," even though
he was drawing on toward the prime of life, was also singing melodiously:
it was his _chansons_, it is said, that upset the Bourbon throne and
made way for the "citizen-king." Nodier, of fanciful and fantastic rhyme,
was already at work, and Merimee had not yet taken up the administrative
duties of overseeing the preserving process which at his instigation was,
at the hands of a paternal government, being applied to the historical
architectural monuments throughout France; a glory which it is to be
feared has never been wholly granted to Merimee, as was his due.
[Illustration: TWO FAMOUS CARICATURES OF ALEXANDRE DUMAS]
Guizot, the _bete noire_ of the later Louis-Philippe, was actively writing
from 1825 to 1830, and his antagonist, Thiers, was at the same period
producing what Carlyle called the "voluminous and untrustworthy labours of
a brisk little man in his way;" which recalls to mind the fact that
Carlylean rant--like most of his prose--is a well-nigh insufferable thing.
At this time Mignet, the historian, was hard at work, and St. Beauve had
just deserted _materia medica_ for literature. Michelet's juvenile
histories were a production of the time, while poor, unhonoured, and then
unsung, Balzac was grinding out his pittance--in after years to grow into
a monumental literary legacy--in a garret.
Eugene Sue had not yet taken to literary pathways, and was scouring the
seas as a naval surgeon.
The drama was prolific in names which we have since known as masters,
Scribe, Halevy, and others.
George Sand, too, was just beginning that grand literary life which opened
with "Indiana" in 1832, and lasted until 1876. She, like so many of the
great, whose name and fame, like Dumas' own, has been perpetuated by a
monument in stone, the statue which was unveiled in the little town of her
birth on the Indre, La Chatre, in 1903.
Like Dumas, too, hers was a cyclopean industry, and so it followed that in
the present twentieth century (in the year 1904), another and a more
glorious memorial to France's greatest woman writer was unveiled in the
Garden of the Luxembourg.
Among the women famous in the _monde_ of Paris at the time of Dumas'
arrival were Mesdames Desbordes-Valmore, Amable Tastu, and Delphine Gay.
"For more than half a century this brilliant group of men and women
sustained the world of ideas and poetry," said Dumas, in his "Memoires,"
"and I, too," he continued, "have reached the same plane ... unaided by
intrigue or coterie, and using none other than my own work as the
stepping-stone in my pathway."
Dumas cannot be said to have been niggardly with his praise of the work of
others. He said of a sonnet of Arnault's--"La Feuille"--that it was a
masterpiece which an Andre Chenier, a Lamartine, or a Hugo might have
envied, and that for himself, not knowing what his "literary brothers"
might have done, he would have given for it "any one of his dramas."
It was into the office of Arnault, who was chief of a department in the
Universite, that Beranger took up his labours as a copying-clerk,--as did
Dumas in later years,--and it was while here that Beranger produced his
first ballad, the "Roi d'Yvetot."
In 1851 Millet was at his height, if one considers what he had already
achieved by his "great agrarian poems," as they have been called. Gautier
called them "Georgics in paint," and such they undoubtedly were. Millet
would hardly be called a Parisian; he was not of the life of the city, but
rather of that of the countryside, by his having settled down at Barbizon
in 1849, and practically never left it except to go to Paris on business.
His life has been referred to as one of "sublime monotony," but it was
hardly that. It was a life devoted to the telling of a splendid story,
that of the land as contrasted with that of the paved city streets.
Corot was a real Parisian, and it was only in his early life in the
provinces that he felt the bitterness of life and longed for the
flagstones of the quais, for the Tuileries, the Seine, and his beloved Rue
de Bac, where he was born on 10th Thermidor, Year IV. (July 28, 1796).
Corot early took to painting the scenes of the metropolis, as we learn
from his biography, notably at the point along the river bank where the
London steamer moors to-day. But these have disappeared; few or none of
his juvenile efforts have come down to us.
Corot returned to Paris, after many years spent in Rome, during the reign
of Louis-Philippe, when affairs were beginning to stir themselves in
literature and art. In 1839 his "Site d'Italie" and a "Soir" were shown at
the annual Salon,--though, of course, he had already been an exhibitor
there,--and inspired a sonnet of Theophile Gautier, which concludes:
"Corot, ton nom modest, ecrit dans un coin noir."
Corot's pictures _were_ unfortunately hung in the darkest corners--for
fifteen years. As he himself has said, it was as if he were in the
catacombs. In 1855 Corot figured as one of the thirty-four judges
appointed by Napoleon III. to make the awards for paintings exhibited in
the world's first Universal Exhibition. It is not remarked that Corot had
any acquaintance or friendships with Dumas or with Victor Hugo, of whom he
remarked, "This Victor Hugo seems to be pretty famous in literature." He
knew little of his contemporaries, and the hurly-burly knew less of him.
He was devoted, however, to the genius of his superiors--as he doubtless
thought them. Of Delacroix he said one day, "He is an eagle, and I am only
a lark singing little songs in gray clouds."
A literary event of prime importance during the latter years of Dumas'
life in Paris, when his own purse was growing thin, was the publication of
the "Histoire de Jules Cesar," written by Napoleon III.
Nobody ever seems to have taken the second emperor seriously in any of his
finer expressions of sentiment, and, as may be supposed, the publication
of this immortal literary effort was the occasion of much sarcasm, banter,
violent philippic, and sardonic criticism.
Possibly the world was not waiting for this work, but royalty, no less
than other great men, have their hobbies and their fads; Nero fiddled, and
the first Napoleon read novels and threw them forthwith out of the
carriage window, so it was quite permissible that Napoleon III. should
have perpetuated this life history of an emperor whom he may justly and
truly have admired--perhaps envied, in a sort of impossible way.
Already Louis Napoleon's collection of writings was rather voluminous, so
this came as no great surprise, and his literary reputation was really
greater than that which had come to him since fate made him the master of
one of the foremost nations of Europe.
From his critics we learn that "he lacked the grace of a popular author;
that he was quite incapable of interesting the reader by a charm of
manner; and that his _style_ was meagre, harsh, and grating, but
epigrammatic." No Frenchman could possibly be otherwise.
Dumas relates, again, the story of Sir Walter Scott's visit to Paris,
seeking documents which should bear upon the reign of Napoleon. Dining
with friends one evening, he was invited the next day to dine with Barras.
But Scott shook his head. "I cannot dine with that man," he replied. "I
shall write evil of him, and people in Scotland would say that I have
flung the dishes from his own table at his head."
It is not recorded that Dumas' knowledge of swordsmanship was based on
practical experience, but certainly no more scientific sword-play of
_passe_ and _touche_ has been put into words than that wonderful attack
and counter-attack in the opening pages of "Les Trois Mousquetaires."
Of the _duel d'honneur_ there is less to be said, though Dumas more than
once sought to reconcile estranged and impetuous spirits who would have
run each other through, either by leaden bullet or the sword. A notable
instance of this was in the memorable _affaire_ between Louis Blanc of
_L'Homme-Libre_ and Dujarrier-Beauvallon of _La Presse_. The latter told
Dumas that he had no alternative but to fight, though he went like a lamb
to the slaughter, and had no knowledge of the _code_ nor any skill with
weapons.
Dumas _pere_ was implored by the younger Dumas--both of whom took
Dujarrier's interests much to heart--to go and see Grisier and claim his
intervention. "I cannot do it," said the elder; "the first and foremost
thing to do is to safeguard his reputation, which is the more precious
because it is his first duel." The Grisier referred to was the great
master of fence of the time who was immortalized by Dumas in his "Maitre
d'Armes."
Dumas himself is acknowledged, however, on one occasion, at least, to
have acted as second--co-jointly with General Fleury--in an _affaire_
which, happily, never came off.
It was this Blanc-Dujarrier duel which brought into further prominent
notice that most remarkable and quasi-wonderful woman, Lola Montez; that
daughter of a Spaniard and a Creole, a native of Limerick, pupil of a
boarding-school at Bath, and one-time resident of Seville; to which may be
added, on the account of Lord Malmesbury, "The woman who in Munich set
fire to the magazine of revolution which was ready to burst forth all over
Europe."
She herself said that she had also lived in Calcutta as the wife of an
officer in the employ of the East India Company; had at one time been
reduced to singing in the streets at Brussels; had danced at the Italian
Opera in London,--"not much, but as well as half the ugly wooden women who
were there,"--and had failed as a dancer in Warsaw.
"This illiterate schemer," says Vandam, "who probably knew nothing of
geography or history, had pretty well the Almanach de Gotha by heart."
"Why did I not come earlier to Paris?" she once said. "What was the good?
There was a king there bourgeois to his finger-nails, tight-fisted
besides, and notoriously the most moral and the best father in all the
world."
This woman, it seems, was a beneficiary in the testament of Dujarrier, who
died as a result of his duel, to the extent of eighteen shares in the
Theatre du Palais Royal, and in the trial which followed at Rouen, at
which were present all shades and degrees of literary and professional
people, Dumas, Gustave Flaubert, and others, she insisted upon appearing
as a witness, for no reason whatever, apparently, than that of further
notoriety. "Six months from this time," as one learns from Vandam, "her
name was almost forgotten by all of us except Alexandre Dumas, who once
and again alluded to her." "Though far from superstitious, Dumas, who had
been as much smitten with her as most of her admirers, avowed that he was
glad that she had disappeared. 'She has the evil eye,' said he, 'and is
sure to bring bad luck to any one who closely links his destiny with
hers.'"
There is no question but that Dumas was right, for she afterward--to
mention but two instances of her remarkably active career--brought
disaster "most unkind" upon Louis I. of Bavaria; committed bigamy with an
English officer who was drowned at Lisbon; and, whether in the guise of
lovers or husbands, all, truly, who became connected with her met with
almost immediate disaster.
The mere mention of Lola Montez brings to mind another woman of the same
category, though different in character, Alphonsine Plessis, more
popularly known as La Dame aux Camelias. She died in 1847, and her name
was not Marie or Marguerite Duplessis, but as above written.
Dumas _fils_ in his play did not idealize Alphonsine Plessis' character;
indeed, Dumas _pere_ said that he did not even enlarge or exaggerate any
incident--all of which was common property in the _demi-monde_--"save that
he ascribed her death to any cause but the right one." "I know he made use
of it," said the father, "but he showed the malady aggravated by Duval's
desertion."
We learn that the elder Dumas "wept like a baby" over the reading of his
son's play. But his tears did not drown his critical faculty. "At the
beginning of the third act," said Dumas _pere_, "I was wondering how
Alexandre would get his Marguerite back to town, ... but the way Alexandre
got out of the difficulty proves that he is my son, every inch of him, and
at the very outset of his career he is a better dramatist than I am ever
likely to be."
"Alphonsine Plessis was decidedly a real personage, but not an ordinary
one in her walk of life," said Doctor Veron. "A woman of her refinement
might not have been impossible in a former day, because the grisette--and
subsequently the _femme entretenue_--was not then even surmised. She
interests me much; she is the best dressed woman in Paris, she neither
conceals nor hides her vices, and she does not continually hint about
money; in short, she is wonderful."
"La Dame aux Camelias" appeared within eighteen months of the actual death
of the heroine, and went into every one's hands, interest being whetted
meanwhile by the recent event, and yet more by much gossip--scandal if you
will--which universally appeared in the Paris press. Her pedigree was
evolved and diagnosed by Count G. de Contades in a French bibliographical
journal, _Le Livre_, which showed that she was descended from a
"_guenuchetonne_" (slattern) of Longe, in the canton of Brionze, near
Alencon; a predilection which the elder Dumas himself had previously put
forth when he stated that, "I am certain that one might find taint either
on the father's side, or on the mother's, probably on the former's, but
more probably still on both."
The following eulogy, extracted from a letter written to Dumas _fils_ by
Victor Hugo upon the occasion of the inhumation of the ashes of Alexandre
Dumas at Villers-Cotterets, whither they were removed from Puits, shows
plainly the esteem in which his literary abilities were held by the more
sober-minded of his compeers:
"MON CHER CONFRERE:--I learn from the papers of the funeral of
Alexandre Dumas at Villers-Cotterets.... It is with regret that I am
unable to attend.... But I am with you in my heart.... What I would
say, let me write.... No popularity of the past century has equalled
that of Alexandre Dumas. His successes were more than successes: they
were triumphs.... The name of Alexandre Dumas is more than 'Francais,
il est Europeen;' and it is more than European, it is universal. His
theatre has been given publicity in all lands, and his romances have
been translated into all tongues. Alexandre Dumas was one of those
men we can call the sowers of civilization.... Alexandre Dumas is
seducing, fascinating, interesting, amusing, and informing.... All
the emotions, the most pathetic, all the irony, all the comedy, all
the analysis of romance, and all the intuition of history are found
in the supreme works constructed by this great and vigorous
architect.
"... His spirit was capable of all the miracles he performed; this
he bequeathed and this survives.... Your renown but continues his
glory.
"... Your father and I were young together.... He was a grand and
good friend.... I had not seen him since 1857.... As I entered Paris
Alexandre Dumas was leaving. I did not have even a parting shake of
the hand.
"The visit which he made me in my exile I will some day return to his
tomb.
"_Cher confrere, fils de mon ami, je vous embrasse._
"VICTOR HUGO."
Of Dumas, Charles Reade said: "He has never been properly appreciated; he
is the prince of dramatists, the king of romancists, and the emperor of
good fellows."
Dumas _fils_ he thought a "vinegar-blooded iconoclast--shrewd, clever,
audacious, introspective, and mathematically logical."
* * * * *
The Cimetiere du Pere La Chaise has a contemporary interest with the names
of many who were contemporaries of Dumas in the life and letters of his
day.
Of course, sentimental interest first attaches itself to the Gothic
canopy--built from the fragments of the convent of Paraclet--which
enshrines the remains of Abelard and Heloise (1142-64), and this perhaps
is as it should be, but for those who are conversant with the life of
Paris of Dumas' day, this most "famous resting-place" has far more
interest because of its shelter given to so many of Dumas' contemporaries
and friends.
Scribe, who was buried here 1861; Michelet, d. 1874; Delphine Cambaceres,
1867; Lachambeaudie, 1872; Soulie, 1847; Balzac, 1850; Ch. Nodier, 1844;
C. Delavigne, 1843; Delacroix, the painter, 1865; Talma, the tragedian,
1826; Boieldieu, the composer, 1834; Chopin, 1849; Herold, 1833; General
Foy, 1825; David d'Angers, 1856; Hugo, 1828 (the father of Victor Hugo);
David, the painter, 1825; Alfred de Musset, 1857; Rossini, 1868.
[Illustration: TOMB OF ABELARD AND HELOISE]