The Louisiana cotton-boll. [volume] (Vermilionville [i.e. Lafayette], Attakapas, La.) 1872-1883, 1873-06-04
French Dramatists on the French
Drama in America.

friend, I was present at n meeting OF
the Society Of Dramatic Authors and
Composers at the Sale Hertz. The
doors were closed against outsiders
newspaper reporters were, as usual, ii
gidly cxcluded-and, if an exception
was made in my case, I was indebted
for it to the tact of my friend. The
latter had assured me that the proceed
ings of the society, on this occasion,
would doubtless be quite interesting,
and perhaps somewhat excited, rs the
question Of foreign tantirmCs, in which
the playwrights of France are so inter
csted, would be discussed and he told
me, besides, that most of the eminent
dramatists of his country would be
present. So you may imagine that my
curiosity was excited. But What l saw
and heard in the Sale Hertz was so in
te~resting-I might almost say startling
that | honestly believe, during my
long residence in Paris, | have never
passed two hours that will leave upon
my mind so lasting an impression as
those which I spent yesterday afternoon
in the midst of the great and little dra-
matists of France.
It was two o'clock p. Nj. when I enter
cd the Sale Hertz. The elegant hall
was but partially filled. The meeting
had already opened. Octave FeuilIot,
with his handsome classical face and
elegant form, occupied the chair. !
have never seen n more clever and
graceful presiding officer than the au-
thor Of "'Tho Romance of u Poor
Young Man." and "Sibylle.' A fat
man, with gray curly hair, about forty
five years of age, had the floor. He
was u poor speaker, and l was not II lit
tie astonished when my friend whisper
ed In my ear, "That is Edmond About"
Gould the witty and sparklin author
of "The Roman Question" be so dull
an orator-drawling ont long phrases
with a peculiar and offensive nasal
twang? l must confess I was puzzled.
M. About spoke on a very uninterest-
ing subject, and he was followed by
several young men, whose plays have
had IN ephemeral success, but whose
names are not known by anybody but
those who frequent the second and
third-rato theatres of Paris. While
they were speaking, there was n hum Of
voices in the hall, showing how little
interest the audience took in what they
said.
All ut once there was profound silence.
A slender man, tall, dark-complexionod,
dark-haired, and dark-eyed, took the
floor. The President said, an. Alex
andre Dumas has the floor" believe
me, I was all ear, I had never seen
him before.
He said but a few words, but I per-
ceiyed at once that lie was a natural ora
tor. And yet the sentiments he uttered
almost grated on my ears. He said
ct write for France alone. | do not
court foreign favor. German money
cannot buy my manuscripts-Italian
Aattory falls upon deaf ears with me.
/ am d Fronchmqnt'
What an applause there was as ho
proudly looked around-ho who had
asked for the permission of playing his
Femme de Claude" Of the manager
Of the Imperial German theatresI
A queer-looking little fellow, with an
exceedingly Frenehy face, a biROolc on
his nose, and dressed like q court hui8-
sior, 0 next. Everybody listened
almost as attentiyely to him rs to lis
lannon's predecessor. Who could it be?
l was surprised to hear that it was
Theodore Barriere, perhaps the wit
tiest % the living dramatists Of France.
He, too, spoke we'll only he g~esticu-
lated too much. But what French ora
tor does not? NJ. Batriere was indig-
nant. He denounced Alexandra Dnmas
for what no called his dramatic chau-
UiRiSBl. "Why, exclaimed the little
man, 81, too, am n French author and
write for mycountrymen. If they ap- ,
plaud me, / am proud but, if foreign
nations also applaud me, / am still
prouder. WIZ You consider me, my
friends, an egotist, when / tell you that
the happiest mdInent of my. life was
when MI. Michaelis, my excellent Amori.
can friend, told me hat my play, La
Comtesse do Someriye had been played
with extraordinary success, under the
name Alike at n prominent theatre in
New York! Letme add that, something
wonderful but decidedly honorable to
America, | derive a large tanticmc from
the performances OF my play in the
Amarisan theatre in question, and that
1 noN have in my pocket a check for
the first thirty performances, with the
assurance that other checks will follow.
That is American enterprise, and, |
might almost say, American generosity
for the New York manager might have
appropriated my play without paying
me a o for it. 0
NJ Barriero was ~applauded. The q
next speaker was a young giant Tall, i
with a cadaFerous face, and evi. 4
not yet forty. His was a sepul. {
'hral voice. But he was listened TO t
especially for he had had at least p
me great success, and French drama =
lists worship success. Why should they e
lot? With them success means fame a
md fortune. b
The speaker was III. Edouard Plou. D
Ter, the author of the charming play v
lie Gentenaire. He, too, praised the B
Another New York mana G,
~ hsa bnu,sb4 eliza y,a.,t,saps,k AL II