The Sun.
London, England, 1861-11-13 00:00:00

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PRICE. 4d.
STAMPED sd.

present moment, is a significant mark of esteem
towards a Minister under whose direction the Rus-
sian Universities made considerable prop less.

Another proof of sympathy
for the Universities
has been given by the Alexander Lyceum, which
was founded by the Emperor Alexander in 1811,
and which held a few days ago its first " jubilee."
On this occasion 6,000 roubles were subscribed for
a new scholarship at the University of St. Peters-
burg. The Alexander Lyceum is, after the Univer-
sities, the most important educational establishment
in St. Petersburg. As there had been some talk of
assimilating the Universities of Russia to those of
England, I may say, for the sake of comparison,
that the Alexander Lyceum is in certain respects
the Russian Eton or Harrow. It is, above all, a
school for the children of the Russian aristocracy,
who are being brought up with a view to State ser-
vice. The poet Poushkin, his friend and associate
in many literary enterprises, Baron Delvig, and
most of the distinguished statesman and diploma-
tists who have appeared in Russia during the last
40 years, were educated at the Alexander Lyceum.
At the jubilee banquet nearly all the Ministers were
present, and it is said that General Ignatieff ex-
pected an invitation, which, however, he did not
receive.

All the letters from St. Petersburg that have re-
cently appeared in the limes have passed the cen•
sorship, with the obliteration of only two or` ifttEr
short paragraphs (those in which the Grand Duke
Nicholas is spoken of, and in which the contents of
the secret journal are given) in the whole correspond-
ence. I have heard it remarked that Count Putiatin
ought not to be considered answerable for the new
University regulations, inasmuch as they are not of
his making. At least, however, he undertook the
responsibility of carrying them out. In a letter
about the University of Moscow, which has not yet
reached St. Petersburg, I have spoken of the late
Professor Granoffsky as having been appointed
during the present reign. This is an error. He
received his appointment as Historical Lecturer
under the Emperor Nicholas, and was the chief sup-
port of the Moscow University at a period when
the position of an independent Professor was one of
great difficulty and danger.

MR. BOUCICAULT AND TilE 11?..7,NC8
ADAPTER OF " COLLEEN BAIVN."

The theatrical critic of the Opinion Nationale,
M. Francisque Sarcey, publishes two very piquante
letters written to him respectively by M. Dion
Boucicault, the author of " Colleen Bawn," and M.
d'Ennery, the well-known dramatic writer, who
adapted the leading incident of that most successful
drama for the French stage, in a piece altogether
re-written and produced, about a month ago, at the
Ambigu Comique under the title of the " Lake of
Glenaston." The " Lake of Glenaston" did not find
much favour at the hands of the French critics
generally, and it was in particular very severely
cut up by the writer of the theatrical articles in the
Moniteur, who treated it as the joint production of
M. d'Ennery and M. Boucicault. Thereupon M.
Boucicault wrote to the Al oniteur (which did not
insert it) the following letter, now published by the
Opinion Nationale:— _ _

Hereford House, London, Oct. 28.

The Moniteur of October 22 contains an article on the
"Lake of Glenaston," a new drama by M. d'Ennery. In
reply to your censure of my part of this work, I am under
the necessity of stating that the drama which you have
analysed is altogether M. d'Ennery's, with the single ex-
ception of the drowning scene, which is of my invention.
The manager of the Ambigu Comique Theatre proposed
to me to play my " Colleen Bawn" in Paris, and offered
me M. d'Ennery's assistance for its production. I cheer-
fully availed myself of this opportunity of being presented
to the Parisian public, and I sent a French translation of
my drama to the theatre. M. d'Ennery never allowed me
to take any part in the composition of the " Lake of Glen-
aston." He did not even show me his manuscript, and never
put himself in communication with me in any way what-
ever. I went to Paris for the purpose of arranging the
drowning scene, and in the hope of seeing M. d'Ennery, or
at least of obtaining some news or my work.
Having learned that my fellow labourer (collaborateur)
had resolved to depart entirely from my drama, I protested
in writing against this injustice. My protest met with no
answer.

I can accept no part in the merit which the "Lake of
Glenaston" may have, and you will allow me therefore to
decline any part of your criticism concerning it.
Accept, monsieur, the assurance of my most distihguished
sentiments, DION BOLICICAULT.

Before inserting this letter M. Sarcey thought
fit to send a copy of it to M. d'Ennery, with a re•
quest for an explanation, and he received from
that gentleman the following reply :

Monsieur,—I send you in great haste the information
you ask for. The manager of the Ambits Comique lately
saw a piece in Loudon, which seemed to him far from good,
but which contained a situation and a tableau that all
London admired. People rushed and struggled and fought
at the door of the English theatre to witness this scene in
the water, and the French manager conceived the idea that
he could make something of this dramatic situation.

He applied to me to adapt it for our stage. Ilis opinion,
which, after reading M. Boucicault's piece, I entirely shared,
was that it should be completely remodelled, only the lake
tableau and two or three other scenes being retained.
The rest of the work appeared to us to be written in such
a way that it would have obtained no success before a
French audience.

The task which I was to undertake constituted what the

international treaty calls—l don't very clearly know why—
"an appropriation made with good faith," and in such a
case M. Boucicault would, according to the treaty, have
been entitled to no share whatever in the author's profits.
f, however, told M. Chilly that I would not so treat the
matter. _ _ _

Upwards of 100 of rt* works have been played in Lon-
don without even so much trouble being taken as to change
the name of the characters ; and nobody ever took the
trouble, either, to call upon me to pay any money. But
France has an old habit of responding English ways of
dealing (inauvais precedes) by delicacy and courtesy, and
I would not depart from this honourable tradition.
Our ancestors, when the English and French were about
to fire bullets at one another, said, " After you, Messieurs
les Anglais." In these days, when disinterestedness and
gentlemanly-feeling are in question, we say, "Before you
Messieurs les Anglais."
I therefore told the manager of the Ambigu Comique

that I must be at liberty to rewrite the piece entirely in my

own way ; but that I should certainly make over to M.
Boucicault the half of that proportion of the receipt which

according to the stipulations made with the committee of
authors, falls due to the author of every piece played at the
Ambigu. I wrote the piece accordingly ; you, monsieur,
know what it is; and, to enable you to judge between M.
Boucicault's production and mine, I cannot do better than
send you the translation of the English drama which was
sent to Paris by M. Boucicault himself.
M. Boucicault complains that he was not able to see me
and had no opportunity of working with me.
If M. Boucicault had taken the trouble to address him-
self to me directly—if he had asked mo for a meeting, I
should have been delighted to see him, and to have made
the acquaintance of the fortunate writer who has succeeded
in fishing up 900,000 f., of author's rights, from the bottom
of our lake.
If he had asked me to work with him—if he had proposed
that we should reconstruct together the drama which he
himself borrowed from a novel, my answer would have been
that the translation which he sent to Paris was his part of
the labour.

And to reassure him as to the way in which I should deal
with his piece, I should have adzied this :—M. Emile de
Girardin did not hesitate to confide to me a play of that
eminent authoress called Madame de Girardin, and he did
me the honour to trust to my experience as to all the altera-
tions to be made.

Mr. Edmund About, whose " Genuine" I adapted for
the theatre, would not see the piece until it was played,and
the compliments which he was pleased to pay me would
haN e embarrassed a humility more humble than mine.

I wrote a drama from Eugene Sue's "Wandering Jew,"
and the celebrated novelist was so satisfied with my woi k
that in my absence ho insisted upon a larger share of th
profits than I had required being set apart for me.
To conclude, I had the happy audacity to re-arrange a
work of our great Balzac, a piece which the manager of
every theatre in Paris, from the Theatre Fran9aise.down to
the Ambigu and Gaits, had pronounced to be unrepresent-
able. You know that for the last 12 years the public has
never ceased to applaud " Mercadet."
Such names, I think, might well have reassured the Eng-
lish author, and M. Boucicault would perhaps net have re-
fused to join such company,
Accept, monsieur, my warmest salutationsp.
,ENNE
y.
_

The critic of the Orimon Nationale, having read