The Bolivar bulletin. [volume] (Bolivar, Hardeman County, Tenn.) 1865-1888, 1873-05-23
French Dramatists on the French
Drama in America.

Yesterday, writes the Paris cores
pondent of the Vienna TagebIa't,
through the kindness of a literary
friend, was present at 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
gidIy excluded-and, if an exception !
was made in my case, 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, as the
question of foreign tantieDleS, 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 I saw
and heard in the Sale Hertz was so in
tcresting-I might almost say startling
that l honestly believe, during my
long residence in Paris, I 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.
1t was two o'clock P. NJ. when I enter
ed the Sale Hertz. The elegant hall
was but partially filed. The meeting
had already opened. Octave Feuillet,
with his handsome classical face and
elegant form, occupied the chair. I
have never seen more clever and
graceful presiding officer than the au-
thor of "The Romance of a Poor
Young Man." and d" Sibylle. " A fat
man, with gray curly hair, about forty
five years Of age, had the floor He
was a poor speaker, and I was not lit
tie astonished when my friend whisper
ed in my ear, ''That is Edmond About"
Could the witty and sparklin author
of "The Roman Question" be so dull
an orator-drawling out long phrases
with a peculiar and offensive nasal
twang? l must confess [ was puzzled.
NJ About spoke on a very uninterest-
ing subject, and he was followed by
several young men, whose plays have
had an ephemeral success, but whose
names are not known by anybody but
those who frequent the second and
third-rate theatres of Paris. While
they were speaking, there was a hum of
voices in the hall, showing how little
interest the audience took in what they
said.
All at once there was profound silence.
A slender man, tall, dark-complexioned,
dark-haired, and dark-eyed, took the
floor. The President said, ''M. Alex
andre Dumas has the floor" believe
me, was all ear. 1 had never seen
him before.
He said but few words, but l per
ceived at once that he was a natural ora
tor. And yet the sentiments he uttered
almost grated on my ears. He said
Ct write for France alone. l do not
court foreign favor. German money
cannot buy my scripts-Italiar
hattery falls upon deaf ears with me-
am Frenchman!"
What au applause there was as hC
proudly looked around-he who had
asked for the permission of playing his
Femme de Claude" of the manager
of the Imperial German theatres!
4 queer-Iool1ing little fellow, with al
exceedingly Frenchy face, a 6inOcJe OF
his nose, and. dressed like n court h1tjS
sier, rose next. Everybody listened
almost MS attentively to him as to hi
famous predecessor. Who could it be
I was surprised to hear that it wa
Theodore Barriere, perhaps the wit
test of the living dramatists of France
He, too, spoke we'll only he gesticu
lated too much. But what French ora
tor does not? NJ. Ban riere was indig
nant. He denounced Alexandra Duma
for what he called his dramatic chan
Cinjsna. "Why," exclaimed the it'll
man, Il, too, am French author an
write for my countrymen. If they at
plaud me, am proud but, if foreig
nations also applaud me, 1 am sti1
prouder. VIII you consider me, m
friends, an egotist, when tell you this
the happiest moment of my life wa
when NJ. Michaelis, my excellent Amer
can friend, told me that my play, t
Comtesse de Somerive had been playe
with extraordinary success, under Il
name Alike at a prominent theatre
New York. Let me add that, somethir
wonderful, but decidedly honorable
America, derive large tantieD1e fro
the performances of my play in Il
American theatre in question, and tn
now have IN nay pocket check f
the first thirty performances, with Il
assurance that other checks viii folio
That is American enterprise, and,
might almost say, American generosit,
for the New York manager might ha
appropriated my play without payi1
me n sou for it.
NJ. Barriere was applauded II
next speaker was young giant. Ia
gount with q cadaverous face. and g,
IDENTIFY not yet forty. His was a Sept
cbral voice. But he was listened
respectfully; for he had had at lea
one great success, and French dram
lists worship success. Why should tn
not? With them success means far
and fortune.
The speaker was NJ. Edouard Pho
vier. the author of the charming pl
"Le Centenaire. y He, too, praised
l.