The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1892-05-01

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led to his employment on several news
papers. From that time forward he wrote
constantly for the Figaro, composing be-
tween whites short plays, and writing the
articles which were published in a col
lected form as "Contes de mon Moulin"
For five years he was private secretary TO
the Due de Morny. the half-brother of
Napoleon Ill During that period of his
life ne moved in the brilliant society that
he described with such minute fidelity and
scathing satire in "Rois en- Exil" and
"Nabab"
During the last three or four years NJ.
Daudet has suffered much from persistent
ill-heaith. At no time did he mix much
in Partisan society; his home and his
work absorbed all his time. and of late he
has seen only very intimate friends, such
as Emile lola Edmond de Goncourt and
N. and Nine. Lockroy, the mother and
stepfather OF his sons wife. Peach Bios
som" Hugo, for whom Frances great poet
wrote The Art of Being Grandfather"
In quiet street in the heart OF the Quar-
tier Latin Alphonse Daudet and his wife
have set up their household gods. Like
most oid-fashioned Parisians they live in
a nat, but the novelist has been fortunate
enough here in the Rue de Bellechasse
10 secure line view over southern
Paris from his study windows. The
room in which Alphonse Dauiet works is
plainly but comfortably furnished. Two
large setIees. drawn close TO the roomy
fireplace filled with brightly burning pine
logs, give a coy air 10 the apartment.
The writing table, large massive block
covered with papers and pamphlets, oec2-
pies the whole of one side OF the room. NJ.
Iaudet dictates most OF his work to his
wife and TWO secretaries. When receiving
visitors he places himself with mis- back 10
"a 3fg-hr only Nsa hp-g- Nrtr lima
OF the poet-noyeiist's full head Is seen by
his guest.
Il suppose, NJ Dauiet, that You are
now resting from the task Of writing your
two Iast plays and the story which has
lust come oUtrS
''Oa the contrary, l am working hard at
a new book, which laid aside in order TO
write Rose ct Nineste,' the little study Of
social lie TO which You refer. The mod
ern problem dealing with the position of
children whose parents have been divorced
mas long haunted me. | could not throw
the thought aside. and felt that must
write myself out"
Then, suppose, VI. Daudst, that You
are entirely against divorces"
4 PANIED expression came over the sensi-
tive face half concealed IN shadow
''It Is mos: difficult question; surely
peoples nrsT duty Is 10 those whom they
have brought into the world. and who at
Think Of the effect produced on children
by tue knowledge, which Is quite newt
able. That their parents have sepa-
rated because one OF the TWO was
uniaitaIu. I. the otherl What s revolu-
ton N all their thoughts. All lIe
/ changes; everything they nave been taught
/ 10 hcsleye seems TO oe untrue. As you
/ doubtless know, By French law, both
/ father and mother are allowed TO see the.r
+ children from time 10 time Consider the
I groteSqGe and painful side OF these visits.
You mus not speak 81 mother 10 father.
I or again. Won must not SPEAK OF father 70
mother Ter. after al, these children are
I sn indisso-Uhle chain which binds the
( former husband and wife 10 each other,
/ and the consent o. both must be asked
/ in ease one of the Young people wishes
I 10 set married; indeed. mere IN France
Z divorced couple play At their old role
( @; husband and wife in these ceremonies.
/ No, believe me, when people have children
/ legal separation Is of no avaii. Absolute
integrity of the marriage tie is necessary
4 In choosing wife = man must ce Sale 10
say When arm dying these are the
I arms IN Which shall pass away. these a-s
1 the fingers which shall close nv ewes \
man cannot ieei this II ne knows that III
f nye o. ten years time his wife Will be able
+ 70 cast MIN on and eecone the legal prop
/ eEEy " another; or that ne, on ms side. Il
4 he gets tired Of her, can have recourse u
/ the help which the law Is only toe willing
+ 10 accord hum in order TO iii himself 0!
{ her"
! Have you any special notions, NJ Dau-
! des, on the modern lheste-s"
No / do nos believe IN the new terms
( wh.ch they have lately invented. IL does
nos matter whether 3 play is acted by a
( group OF people who eau themselves real
/ Isl, ldeallss. Old, o. naeiern: If the plsy =
( gco1 and the comedians have genius all
( viii 70 we'll. | need hardly say that | do
/ not believe IN brutal realism on the boards
I Lie = thing 81 laanlte Sr2Gailoas. and
( some o. our yUang writers Go no. seem %
/ understand thas- Realism Is nos real life
When ven write = p.sy yoU- desire : 70
/ show lie As Il really !. nos as II may he
| onaer exceptionally revolving cI-curn-
stances. How a p.sy i received depends
/ much On the spirit in which the audience
! came Into the thease-, and also On the way
Z IN watch II has been acted 3"
/ Then you have httle sympathy with n.
/ Antoine and the Theatre Lib-e -
't'1 the contrary. / applaud his efforts
- secure good strong ana unoo-yen,ionSl
Z worS- h1i It IS - me 8 tAeAier IKE other
E thsate-sH
And the censorship"
Well N theory, an against Al dra-
/ matte Snd literary esnSare. / shiak the
4 pa94ae may De trusted 10 take care If
themselves IN that particular; sui there
( are certain things which ought 10 BE yCs
/ down, L not by one set Of people, then hy
saeEher..
W AAs III literature a. profession -
! II do ucE think anything of literature
zs profession" NJ. naaass answered
/ slowly- Il speak from bitter experience.
iS5 | have lived BY my pen al my life