New-York tribune., 1891-05-18
"ZOROASTERn AND Gle MAGE
IS MR.. CRAWFORD A VICTIM OF PLAGIAR-
ISM?

AS HE SAW 1T.
TO the Editor Of The Tribune
sir: In cable dispatch from Paris, giving an
account of the first night of Massenets new opera
and published in The Tribune and other American
papers, occurs this passage:
"F Marion Crawford. the novelist has served legal
notice upon the managers OF the opera sgamt ht me
story is taken bodily from his "z6roaster' Mr..
Rchepin denies the contention"
Two three days later you printed second tele-
gram from Paris. Which read follows
Of. Marion Crawford. the author, who on Mon, non
day served egsI nGCo f nc pTedTson
opera House, protesting aga"S. uiS ,pt .bo tony
Of LIE Mage IS taken bodily from his 'zorOatser
has withdrawn his charge of plagiarism"
These two telegrams which seem to saw thaI MI
Crawford no longer considers NJ. Rchepins libretto
plagiarism Of "Z0roaster" nothing of the Sort
"And thereby hangs a tale"
have been at some pains TO get at the truth unoer
lying this rather curious The adventure "ho"
has befallen Mr. F. Marion Crawford in his dealings
with the Paris Opera is told.
Before giving "Zoroaster" to the press, Mr. Ord"-
ford conceived the idea of extracting from the pages
OF the novel an operatic work for the French stage
In order 10 guarantee his copyright on French SOIL
N. Bernard Derosne Mr. Crawford's representative
and friend in Paris. deposited copy of the EngliSh
version Of the novel at the Ministry OF the lnteror
This was done June Is, 1885. Six months ater'
on January = 1886, Mr. Crawford drew up scenario
TO serve as a groundwork for the future opera In
June of the same year the full text Of "Zoroaster,'
written in French by Mr.. Crawford himself was IN
turn deposited at the same Ministry But no printed
copies of the novel were offered for sale Only three
proof copies Of the French version were struck on
and committed to the care OF VI. Derosne, who, as
already said, is Mr. Crawford's confidential agent
and adviser in Paris One Of these three proof copies
wss placed in the hands Of NJ. Henry Lemoine, the
weI-known music publisher who was to lay it before
Gounod Another was lent to NJ. DuqueSne lessee
Dorfo Martin
communication to NJ. Sariou The third batch of
proofs was handed to Messrs Gailhard and Ri't,
directors Of the opera.
In October 1886, GOunod wrote to NJ. Jules Barber'
the poet his friend and librettst 81 have just
finished reading ZOroaser and this is the impression
II has left on my mind. 1t includes fine elements Tor
a drama, and very noble figures as regards Inea@
ments and character. This is undeniable. But the
subject II treated with the full development it re-
Quires, would involve considerable score that
look upon the task practically and thearcaly I'M
possible The score would have TO be reduced that
it woald assume the proportion of real mutilatioD
The scenes absolutely necessary so numerous tat
we should be Obliged TO sacrifice almost everything
that makes up the grandeur Of the picture ana the
magnifcence of the Spectacle
In sending NJ. Dcrosne GOunod's response, NJ jules
Barber wrote I doubt whether Gounod will go back
on this first general IMPRESSION which in measure
corresponds with mvuyn personal scruples.'
Failing GounOd, NJ. LemOine suggested. on Decem
Der II, 1885, that the copy Of ZoroaSter should be
submitted TO VI. Charles Lencpveu, wei[known com
poser. This done, and after reading the novel;
and Mr. Crawfords scenario, NJ. Derosne received the
welcome news in February, 1887, that NJ LenepVeu
was willing to confer with him concerning the com
posing of the music for the proposed opera. as the
subject pleased him and he had no doubt that the
author and himself would come to an understand
ing about the principal scenes. At this point some
delay occurred 4 consequence Of NJ. LenepVeu having
70 attend the competitive examinations OF his class at
the ConservatOre. But appears from what has just
been said negotiations were well under way and the
composer fairly in conference with the author and his
Paris agent for the score.
In the meanwhile, NJ. Derosne, Who had not been
able to obtain satisfactory response from the directors
of the OPERA the return OF the proof copy OF the
novel left with them two years before, had his at
tention drawn to an item which appeared in the Paris
"Tempss of October 80 1885, where 1t was stated
that NJ Richepn engaged upon the poem OF a
play in four acts for the opera which in It's general
outlines Immediately recalled Mr. Crawford's " Zorro
aster7 II was further stated that the music was to
be composed by Massenet. NJ Derosne naturally sus-
pected that some underhand dealing was IN progress
at the opera; he at once wrote to Mr. Kcheph
requesting an interview. But the bearded bard was
deaf TO all argument and rerenched himself Dehhd tle
right which he said every author had " 20 make the
best of any subject he might across" alleging in
extenuaon of his conduct in the affair under notice
that he had only heard Mr. Crawfoms Zoroaser after
drawing up the plan Of his own opera
NJ Derosne next turned his attention to the Opera.
He called on the directors who admitted that they had
had in their possession the proofhcets of Zoroaser
but disclamed any attempt to frustrate Mr. Crawford
in his efforts to adapt his novel for the operate stage
It was no fault of theirs if Messrs. Richepin ana
Massenet had got wind Of the work. Nor were they
10 be implicated in the publication of the scenario OF
"Le Mage" which first appeared in the Dix Neuvleme
Steele of October 80 1858 under the signature OF one
n Nobls,on who was VI. Pedro Gailhard's cousin and
the secretary OF The opera Questioned by NJ Gallnau
IN the presence of NJ. DerOane To how ho had got
hold of the scenario NJ MObissOn frankly admitted nat
he had taken it from the desk after NJ RcheplnS de-
partire he having called at the opera on Octooer -
This Interview with the directors proving as ir'lt
less as the one he had had with NJ lichepn, NJ
Derosne as member Of the Association OF Dramatic
Authors carried the matter before the committee oI
that body. which committee had as charman NJ.
Camille Doucet of the French Academy, and included
as members such well-knOwn writers as Saidou'
Haevy, Ohnet, Gondinet, etc. NJ. Derosne forwarded
10 each of the members OF the committee copy Of
Mr. Crawfords ZorOaster." copy OF the newspaper
containing the scenario of " lie Mage as gwen py
the secretary the Opera ard the copy OF an auto
graph protest drawn up by Nr. CTd~foIu' Az tnS
sitting which took place on November D. 1900 ".
Derosne stated his case, and concluded by ASKING fAal
NJ Rjchepin and NJ Masscnet should be debarred from
making use OF ZorOaster." inasmuch as the proof
sheets had been the directors of the opera
in confidence and the scenario of La Mage, given
IN the newspapers by their secretary was an exact
reproduction of the chief events Of the novel;
The committee thereupOn dcpa'cd one oI rs uenDers
10 wait uDOn VI. KiChepin, VINO cOntcnted mnseH Dy
replying In the same strain that employed on pre-
vons occasion when VI. Dcrosne called upon nm.
The committee met again fortnight later, when
NJ Derosne was requested To defer his suit until the
first performance OF q" lie Mage the mehDeTS nol
being able 10 decide at that carly date whether any
points OF resemblance actually existed between
ZOroaster" and the yct unrcprcsented opera. -,
YOu have protested TOO soon,' SAID one OF the
committee to the plaintiff
and they will 80 alter the play betwiNt thls alo
then that you will longer have any rsh' u CON-
plain" , -. ohonoo il, tbe
shortly after VI. Derosne learned by chance III tit t
course Of a conversation with M sardOu that as lii ~
hack as 1887 H. MaSscnet had repeatedly aliuueu ~
his presence TO Marion Crawfords Z0roastcT as lh'
very work from which 70 select the mMeriaiS lor az
opera This was said during visit OF NJ MasseileI =