The copper country evening news. [volume] (Calumet, Mich.) 18??-1907, 1897-10-29

the conclusion long ago that young Dumas
| did not see half so much of Alphonsine
| Plessis during her better known existence
rs Is commonly supposed, and that the
first idea of his novel, which preceded his
| play by four years, was most likely sug-
gested TO him by the sensation her death
caused among the Paris public, the female
section of which, almost without distinc-
ton, went to look at her apartment to
appraise her jewels and dresses etc. The
success of the story may have begotten in
the young authors mind if not in his
heart, feeling of gratitude to the dead
girl, which, by very natural transition
in one so young, developed into genuine
or fancied affection for her memory.
AT any rate, on the New Years day aft
or the publication of the book Dumas made
a pilgrimage TO Alphonsine's grave at
Montmartre, and he wendell his way thith-
er second time on the LIST of January,
1850. Dumas himself acknowledged that
he was impelled to that visit by a kind of
superstition. The sober fact was that he
wanted pretext to bemoari his hard fate
and cemetery seemed to him the most
suitable spot to give vent to his tears. We
must remember that he was only 26, and
a Frenchman of that age at that period,
even an Alexandra Dumas fills in the max
ing, was a different creature from the
youthful cynic of the nineties
1t happened to be a dull, rainy day, and
on his return home Dumas drew his cur
tains, lighted his lamp and took out his
manuscript. He made a few corrections
in case of need, " as he said himself, land
everything connected with New Years day
in the fifth act was written then" He
ha6 met Rnf- hnI yko,, l.
at his door. The visitor was his friend,
Henri Mirault-a kind of French Georges
Durlacher of the period-that is, good
natured, serviceable creature, hand in
glove with every theatrical manager, actor
and actress of note Mirault had only
heard fragments of the piece. Dumas read
the whole of it to him, and he also predict
ed eventual success-provided manager
could be found to present the play to the
public.
More than Is months went by before
the desired manager was found, and even
then he was of questionable solvency But
Bouffe, the director of the Varieties-not
to be COMPOUNDED with the eminent actor
Of the same name-though frequently
impecunious was honest and sympathetic
to degree, and having pledged his word
to produce LA Dame aux Camelias,"
adhered to 1t, in spite of the difficulties
Of all kinds and the vexatious interference
Of the censorship foreseen by Virginie De-
jaZet.
Rehearsals had scarcely begun when |
Annals Fargeuil threw up her part She |
felt cramped and uncomfortable in 1t. Eu- |
genie Doche, whom every one considered |
as the next best representative, was in |
London, and had openly announced her
never to face the footlights
again. Bouffe dispatched Fechter to her
With the manuscript The last words had
barely fallen from the famous actors lips |
when she gave orders to pack her trunks
she never wavered for an instant in her
irst appreciation, but she was only one of
hree-in cast of 17-who had implicit
aith.
The other two were Delannoy and Luz
,uet, respectively the original Duval pere
md CASTOR Rieux. Fourteen of the major
nd minor Observation-Disclosures at their
lead-lost confidence in the piece as the
ehearsals proceeded. They became afraid
4 the boldness of the subject. The au-
hor's recommendations and suggestions
we're pooh pooled. He was not supposed
o know anything of his business, although
moments reflection ought to have shown |
D one and all that such n son of such "a
ather, who, moreover had nearly always
ccompanied his sire to rehearsals, must
ave learned something.
One instance of this systematic opposi-
ion will suffice. In the last scene but
ne of act Armand says to Marguerite,
Tell me that you love NJ. De Varville,
nd l will go. never to return again"
Well, If l must tell you, love M. De
'arville," replies Marguerite. Dumas
slt convinced that his stage directions, as
hey stood in the manuscript, as they had
cen printed in all the editions, should be
lrried out to the letter. Fechter on the
Their hand, obstinately refused to clutch n
wrists, to force her to go on her
nees, to lift his hand against her, in order
} strike her, perhaps to kill her with ono
low. He had never done such thing,
said. 1.-The public would not stand
lch an exhibition of violence
And even at the dress rehearsal he per-
sted in his refusal. Dumas was equally
rm. VERY well" said Fechter at last,
will do what you wish, If the piece goes
J far as the fourth act. / am certain it
Ill not reach the second-at any rate, not
10 third" But before the curtain fell
pom the first act the success of the play
90 plaOtlOdily dbSureu. DunaS Ola not |
peat his instructions, and at the scene in
lestion Fechter suddenly remembered tho
lthor's wish. The movement had never
zen rehearsed. Mime. Doche was not pre-
lred for it. Fechter had to take her by
ne wrists and use real force. The great
'tress was absolutely dumfounded. She
ad no idea of what it meant.
The effect was simply immense, and
echter, carried away by the situation,
the door so violently behind him
TAT one of the candelabra on the table
Popped 10 the floor with a crash. The in
dent was regarded by the public as a
'refully prepared bit Of stage business
nd helped TO increase the already frantic
icitement.
There was violent quarrel between the
vo great artists. Nine Doche Justly
'xed Fechter with having improvised
ovemcnt of such Importance without
sving appraised her of his intentions. and
hereby having ieopardized her own play.
echter put the whole of the blame ON the
lthor. The quarrel recommended every
lght, and for many weeks Eugene Doche
nd Charles Fechter never exchanged a
liable off the stage Pail Mall Gazette