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Dumas' Paris. Mansfield Milburg Francisco
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Автор произведения Mansfield Milburg Francisco
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In spite of his intimate association with the affairs of the capital, – he became, it is recalled, a candidate for the Chamber of Deputies at the time of the Second Republic, – Dumas himself has recorded, in a preface contributed to a “Histoire de l’Eure,” by M. Charpillon (1879), that if he were ever to compile a history of France he should first search for les pierres angulaires of his edifice in the provinces.
This bespeaks a catholicity which, perhaps, after all, is, or should be, the birthright of every historical novelist.
He said further, in this really valuable and interesting contribution, which seems to have been entirely overlooked by the bibliographers, that “to write the history of France would take a hundred volumes” – and no doubt he was right, though it has been attempted in less.
And again that “the aggrandizement of Paris has only been accomplished by a weakening process having been undergone by the provinces.” The egg from which Paris grew was deposited in the nest of la cité, the same as are the eggs laid par un cygne.
He says further that in writing the history of Paris he would have founded on “Lutetia (or Louchetia) the Villa de Jules, and would erect in the Place de Notre Dame a temple or altar to Ceres; at which epoch would have been erected another to Mercury, on the Mount of Ste. Geneviève; to Apollo in the Rue de la Barillerie, where to-day is erected that part of Tuileries built by Louis XIV., and which is called Le Pavillon de Flore.
“Then one would naturally follow with Les Thermes de Julien, which grew up from the Villa de Jules; the reunion under Charlemagne which accomplished the Sorbonne (Sora bona), which in turn became the favourite place of residence of Hugues Capet, the stronghold of Philippe-Auguste, the bibliothèque of Charles V., the monumental capital of Henri VI. d’Angleterre; and so on through the founding of the first printing establishment in France by Louis XI.; the new school of painting by François I.; of the Académie by Richelieu; … to the final curtailment of monarchial power with the horrors of the Revolution and the significant events which centred around the Bastille, Versailles, and the Tuileries.”
Leaving the events of the latter years of the eighteenth century, and coming to the day in which Dumas wrote (1867), Paris was truly – and in every sense —
“The capital of France, and its history became not only the history of France but the history of the world… The city will yet become the capital of humanity, and, since Napoleon repudiated his provincial residences and made Paris sa résidence impériale, the man of destiny who reigns in Paris in reality reigns throughout the universe.”
There may be those who will take exception to these brilliant words of Dumas. The Frenchman has always been an ardent and soi-disant bundle of enthusiasm, but those who love him must pardon his pride, which is harmless to himself and others alike, and is a far more admirable quality than the indifference and apathy born of other lands.
His closing words are not without a cynical truth, and withal a pride in Paris:
“It is true that if we can say with pride, we Parisians, ‘It was Paris which overthrew the Bastille,’ you of the provinces can say with equal pride, ‘It was we who made the Revolution.’”
As if to ease the hurt, he wrote further these two lines only:
“At this epoch the sister nations should erect a gigantic statue of Peace. This statue will be Paris, and its pedestal will represent La Province.”
His wish – it was not prophecy – did not, however, come true, as the world in general and France and poor rent Alsace et Lorraine in particular know to their sorrow; and all through a whim of a self-appointed, though weakling, monarch.
The era of the true peace of the world and the monument to its glory came when the French nation presented to the New World that grand work of Bartholdi, “Liberty Enlightening the World,” which stands in New York harbour, and whose smaller replica now terminates the Allée des Cygnes.
The grasp that Dumas had of the events of romance and history served his purpose well, and in the life of the fifties in Paris his was a name and personality that was on everybody’s lips.
How he found time to live the full life that he did is a marvel; it certainly does not bear out the theory of heredity when one considers the race of his birth and the “dark-skinned” languor which was supposedly his heritage.
One edition of his work comprises two hundred and seventy-seven volumes, and within the year a London publisher has announced some sixty volumes “never before translated.” Dumas himself has said that he was the author of over seven hundred works.
In point of time his romances go back to the days of the house of Valois and the Anglo-French wars (1328), and to recount their contents is to abstract many splendid chapters from out the pages of French history.
It would seem as though nearly every personage of royalty and celebrity (if these democratic times will allow the yoking together of the two; real genuine red republicans would probably link royalty and notoriety) stalked majestically through his pages, and the record runs from the fourteenth nearly to the end of the nineteenth century, with the exception of the reign of Louis XI.
An ardent admirer of Sir Walter Scott has commented upon this lapse as being accounted for by the apparent futility of attempting to improve upon “Quentin Durward.” This is interesting, significant, and characteristic, but it is not charitable, generous, or broad-minded.
CHAPTER II.
DUMAS’ EARLY LIFE IN PARIS
At fifteen (1817), Dumas entered the law-office of one Mennesson at Villers-Cotterets as a saute-ruisseau (gutter-snipe), as he himself called it, and from this time on he was forced to forego what had been his passion heretofore: bird-catching, shooting, and all manner of woodcraft.
When still living at Villers-Cotterets Dumas had made acquaintance with the art of the dramatist, so far as it was embodied in the person of Adolphe de Leuven, with whom he collaborated in certain immature melodramas and vaudevilles, which De Leuven himself took to Paris for disposal.
“No doubt managers would welcome them with enthusiasm,” said Dumas, “and likely enough we shall divert a branch of that Pactolus River which is irrigating the domains of M. Scribe” (1822).
Later on in his “Mémoires” he says: “Complete humiliation; we were refused everywhere.”
From Villers-Cotterets the scene of Dumas’ labours was transferred to Crépy, three and a half leagues distant, a small town to which he made his way on foot, his belongings in a little bundle “not more bulky than that of a Savoyard when he leaves his native mountains.”
In his new duties, still as a lawyer’s clerk, Dumas found life very wearisome, and, though the ancient capital of the Valois must have made an impress upon him, – as one learns from the Valois romances, – he pined for the somewhat more free life which he had previously lived; or, taking the bull by the horns, deliberated as to how he might get into the very vortex of things by pushing on to the capital.
As he tritely says, “To arrive it was necessary to make a start,” and the problem was how to arrive in Paris from Crépy in the existing condition of his finances.
By dint of ingenuity and considerable activity Dumas left Crépy in company with a friend on a sort of a runaway holiday, and made his third entrance into Paris.
It would appear that Dumas’ culinary and gastronomic capabilities early came into play, as we learn from the “Mémoires” that, when he was not yet out of his teens, and serving in the notary’s office at Crépy, he proposed to his colleague that they take this three days’ holiday in Paris.
They could muster but thirty-five francs between them, so Dumas proposed that they should shoot game en route. Said Dumas, “We can kill, shall I say, one hare, two