The Letters of Charles Dickens Volume Ii Part 29

HoTEL DU HELDER, PARIS, _Sunday, Feb. 1st, 1863._

MY DEAREST MAMIE,

I cannot give you any idea of the success of the readings here, because no one can imagine the scene of last Friday night at the Emba.s.sy. Such audiences and such enthusiasm I have never seen, but the thing culminated on Friday night in a two hours' storm of excitement and pleasure. They actually recommenced and applauded right away into their carriages and down the street.

You know your parent's horror of being lionised, and will not be surprised to hear that I am half dead of it. I cannot leave here until Thursday (though I am every hour in danger of running away) because I have to dine out, to say nothing of breakfasting--think of me breakfasting!--every intervening day. But my project is to send John home on Thursday, and then to go on a little perfectly quiet tour for about ten days, touching the sea at Boulogne. When I get there, I will write to your aunt (in case you should not be at home), saying when I shall arrive at the office. I must go to the office instead of Gad's, because I have much to do with Forster about Elliotson.

I enclose a short note for each of the little boys. Give Harry ten s.h.i.+llings pocket-money, and Plorn six.

The Olliffe girls, very nice. Florence at the readings, prodigiously excited.

[Sidenote: Miss Hogarth.]

PARIS, _Sunday, Feb. 1st, 1863._

From my hurried note to Mamie, you will get some faint general idea of a new star's having arisen in Paris. But of its brightness you can have no adequate conception.

[John has locked me up and gone out, and the little bell at the door is ringing demoniacally while I write.]

You have never heard me read yet. I have been twice goaded and lifted out of myself into a state that astonished _me_ almost as much as the audience. I have a cold, but no neuralgia, and am "as well as can be expected."

I forgot to tell Mamie that I went (with Lady Molesworth) to hear "Faust" last night. It is a splendid work, in which that n.o.ble and sad story is most n.o.bly and sadly rendered, and perfectly delighted me. But I think it requires too much of the audience to do for a London opera house. The composer must be a very remarkable man indeed. Some management of light throughout the story is also very poetical and fine.

We had Carvalho's box. I could hardly bear the thing, it affected me so.

But, as a certain Frenchman said, "No weakness, Danton!" So I leave off.

[Sidenote: M. Charles Fechter.]

PARIS, _Wednesday, Feb. 4th, 1863._

MY DEAR FECHTER,

A thousand congratulations on your great success! Never mind what they say, or do, _pour vous ecraser_; you have the game in your hands. The romantic drama, thoroughly well done (with a touch of Shakespeare now and then), is the speciality of your theatre. Give the public the picturesque, romantic drama, with yourself in it; and (as I told you in the beginning) you may throw down your gauntlet in defiance of all comers.

It is a most brilliant success indeed, and it thoroughly rejoices my heart!

Unfortunately I cannot now hope to see "Maquet," because I am packing up and going out to dinner (it is late in the afternoon), and I leave to-morrow morning when all sensible people, except myself, are in bed; and I do not come back to Paris or near it. I had hoped to see him at breakfast last Monday, but he was not there. Paul Feval was there, and I found him a capital fellow. If I can do anything to help you on with "Maquet"[8] when I come back I will most gladly do it.

My readings here have had the finest possible reception, and have achieved a most n.o.ble success. I never before read to such fine audiences, so very quick of perception, and so enthusiastically responsive.

I shall be heartily pleased to see you again, my dear Fechter, and to share your triumphs with the real earnestness of a real friend. And so go on and prosper, and believe me, as I truly am,

Most cordially yours.

[Sidenote: Mr. W. C. Macready.]

OFFICE OF "ALL THE YEAR ROUND,"

_Thursday, Feb. 19th, 1863._

MY DEAREST MACREADY,

I have just come back from Paris, where the readings--"Copperfield,"

"Dombey" and "Trial," and "Carol" and "Trial"--have made a sensation which modesty (my natural modesty) renders it impossible for me to describe. You know what a n.o.ble audience the Paris audience is! They were at their very n.o.blest with me.

I was very much concerned by hearing hurriedly from Georgy that you were ill. But when I came home at night, she showed me Katie's letter, and that set me up again. Ah, you have the best of companions and nurses, and can afford to be ill now and then for the happiness of being so brought through it. But don't do it again yet awhile for all that.

Legouve (whom you remember in Paris as writing for the Ristori) was anxious that I should bring you the enclosed. A manly and generous effort, I think? Regnier desired to be warmly remembered to you. He looks just as of yore.

Paris generally is about as wicked and extravagant as in the days of the Regency. Madame Viardot in the "Orphee," most splendid. An opera of "Faust," a very sad and n.o.ble rendering of that sad and n.o.ble story.

Stage management remarkable for some admirable, and really poetical, effects of light. In the more striking situations, Mephistopheles surrounded by an infernal red atmosphere of his own. Marguerite by a pale blue mournful light. The two never blending. After Marguerite has taken the jewels placed in her way in the garden, a weird evening draws on, and the bloom fades from the flowers, and the leaves of the trees droop and lose their fresh green, and mournful shadows overhang her chamber window, which was innocently bright and gay at first. I couldn't bear it, and gave in completely.

Fechter doing wonders over the way here, with a picturesque French drama. Miss Kate Terry, in a small part in it, perfectly charming. You may remember her making a noise, years ago, doing a boy at an inn, in "The Courier of Lyons"? She has a tender love-scene in this piece, which is a really beautiful and artistic thing. I saw her do it at about three in the morning of the day when the theatre opened, surrounded by shavings and carpenters, and (of course) with that inevitable hammer going; and I told Fechter: "That is the very best piece of womanly tenderness I have ever seen on the stage, and you'll find that no audience can miss it." It is a comfort to add that it was instantly seized upon, and is much talked of.

Stanfield was very ill for some months, then suddenly picked up, and is really rosy and jovial again. Going to see him when he was very despondent, I told him the story of Fechter's piece (then in rehearsal) with appropriate action; fighting a duel with the was.h.i.+ng-stand, defying the bedstead, and saving the life of the sofa-cus.h.i.+on. This so kindled his old theatrical ardour, that I think he turned the corner on the spot.

With love to Mrs. Macready and Katie, and (be still my heart!) Benvenuta, and the exiled Johnny (not too attentive at school, I hope?), and the personally-unknown young Parr,

Ever, my dearest Macready, your most affectionate.

[Sidenote: Miss Power.]

OFFICE OF "ALL THE YEAR ROUND,"

_Thursday, Feb. 26th, 1863._

MY DEAR MARGUERITE,

I think I have found a first-rate t.i.tle for your book, with an early and a delightful a.s.sociation in most people's minds, and a strong suggestion of Oriental pictures:

"ARABIAN DAYS AND NIGHTS."

I have sent it to Low's. If they have the wit to see it, do you in your first chapter touch that string, so as to bring a fanciful explanation in aid of the t.i.tle, and sound it afterwards, now and again, when you come to anything where Haroun al Raschid, and the Grand Vizier, and Mesrour, the chief of the guard, and any of that wonderful _dramatis personae_ are vividly brought to mind.

Ever affectionately.

[Sidenote: Mr. Charles Knight.]

OFFICE OF "ALL THE YEAR ROUND,"

_Wednesday, March 4th, 1863._

MY DEAR CHARLES KNIGHT,

At a quarter to seven on Monday, the 16th, a stately form will be descried breathing birthday cordialities and affectionate amenities, as it descends the broken and gently dipping ground by which the level country of the Clifton Road is attained. A practised eye will be able to discern two humble figures in attendance, which from their flowing crinolines may, without exposing the prophet to the imputation of rashness, be predicted to be women. Though certes their importance, absorbed and as it were swallowed up in the ill.u.s.trious bearing and determined purpose of the maturer stranger, will not enthrall the gaze that wanders over the forest of San Giovanni as the night gathers in.