The English Stage. Filon Augustin
barbarians had begun to arrive; it was the first wave of democracy before which the habitué, the playgoer of the old school, was forced to flee.
In 1832 a Commission was instituted by Parliament for the purpose of going into the question of liberty for the theatre. The members could not agree upon the subject, and the question was not settled until after eleven years of discussion. Before this ultimate surrender of Privilege and Tradition to the new spirit, one last effort had been made by men of letters to save the theatre. This was when the great tragedian undertook the management of Covent Garden. There was only one feeling in the world of literature: “We must back up Macready!” Everyone helped. John Forster applied himself to the stage management. Leigh Hunt left aside his criticisms to undertake a tragedy (based on a legend in which Shelley had already found inspiration), and those who could not do so much penned prologues and epilogues and brought them to Covent Garden, just as in former days, at moments of national peril, the patriotic rich brought their valuables to the Mint.[3]
From this abortive renaissance there remain one reputation and three plays. The three plays are The Lady of Lyons, Richelieu, and Money; the reputation is that of Bulwer, the first Lord Lytton. Bulwer passed himself off as a grand seigneur and a genius; he was really but a clever man and a dandy, who exploited literature for his social advancement. He affected a lofty originality, but his talents were mostly imitative. His chief gift, almost entirely wanting in his books, but very notable in his life, was what we call finesse. He took from the Byronian Satanism as much as England would put up with in 1840. He copied Victor Hugo secretly and discreetly. A sort of Gothic democrat, he managed at the same time to charm romantic youths and flatter the proletariat by pretending to hurl down that society in whose front rank he aspired to take his place. His novels were terribly long-winded, but there are generations which find such a quality to their taste. When at last it was discovered that his sublimity was a spurious sublimity, that his history was false history, his “middle-ages” bric-a-brac, his poetry mere rhetoric, his democracy a farce, his human heart a heart that had never beat in a man’s breast, his books mere windy bladders—why, it was too late! The game had been played successfully and was over—the squireen of Knebworth, the self-styled descendant of the Vikings, had founded a family and hooked a peerage.
He had an eye for all the popular causes which were to be served—and were likely to be of service. When there was talk of reforming the drama, he at once came to the front and took the lead. He was the heart and soul of the Commission of 1832. He was one of those who came to the support of Macready in 1838. It was to this end he wrote The Lady of Lyons (without putting his name to it at first).
This is a literary melodrama; a detestable combination, for melodrama, considered either as a variation from drama proper or as a separate type, is not to be raised to the dignity of literature by the veneering of it with a thin layer of poetry. This operation does but produce wild and violent incongruities. In the first act of The Lady of Lyons, Madame Deschappelles is a Palais Royal Maman. Only a Palais Royal Maman, and only one of the most pronounced of them at that, could imagine she would become a dowager princess by marrying her daughter to a prince. Pauline belongs to the same repertory. What are one’s feelings, then, on hearing tragic verses from her lips in the third act and seeing her compete with Imogene and Griselda in the sublimity (and absurdity) of her self-sacrifice! In the fourth act she has resumed something of her natural temperament—the temperament of a prim and tedious governess.
But I suppose I must put up with Pauline Deschappelles willy-nilly! It is one of the accepted doctrines of the old dramatic psychology that a character can pass from good to evil at critical moments, and pass out again even when all egress is barred. It is an absurd notion, but if Bulwer conforms to it, at least he is in the same boat with many others. Where he is himself at fault—that which indicates the obliquity of his moral outlook—is his having presented to us in Claude Melnotte a hero who is a double-dyed cheat. A mere peasant by birth, he passes himself off as a prince and marries under his false name the daughter of a rich bourgeois; a soldier by profession, he becomes a general within two years, and in these two years amasses a fortune. How? By what methods of brigandage we are not told, but we are left to accept it as a matter of course. As regards the first point, love may perhaps be held to excuse the crime; as regards the second, no one seems ever to have raised any objection, and it has been left for me to state my difficulty. In a sufficiently disingenuous preface, Bulwer accounts for the incoherences and extravagances of his hero by the state of extraordinary excitement into which men’s minds had been thrown by the French Revolution. This explanation has sufficed for the author’s fellow-countrymen, and the Revolution has a broad back. But I am afraid that Bulwer was not clear in his mind as to the kind of madness to which Frenchmen were impelled by it—and still more, that he has confounded our generals with our contractors. Our Desaix and our Ouvrards are not made of the same clay nor moulded in the same form; a fact as to which, unfortunately, he remained unenlightened.
After having made his anonymity serve the purpose of an advertisement, the author consented to reveal his identity whilst announcing at the same time that The Lady of Lyons would be a sole experiment. The very next year he appeared before the public with the tragedy of Richelieu, in which Macready played the principal rôle. This piece may be compared with the Cromwell of Victor Hugo. It was marked by the same mixture of tragedy and melodrama; the same display of historical documents and the same ignorance of what is essential in history; the same use of the lowest and the most eccentric expedients to raise a laugh or cause a shudder; the same superficial and crude psychology which in each character, male or female, great or small, reveals the personality of the author. Even when this author is a Victor Hugo it is bad enough! But when it is a Bulwer—!
When he blended into one plot the journée des Dupes and the conspiracy of the Duc de Bouillon, together with some features borrowed from the adventure of Cinq-Mars and De Thou, the author mingled together two periods which could not and should not be thus confounded, the beginning and the end of Richelieu’s career.[4] He managed, too, to falsify English history as well, incidentally, by making Richelieu refer in Council to Cromwell, at that time a still obscure member of the House of Commons. Richelieu speaks of the antagonism between Charles and Oliver at a period when the latter is not even a captain of cavalry. But what is an anachronism of this kind compared to that which involves the principal character in one continued topsy-turveydom? It is the drawback both of the historical play and the historical novel, that they put the great figures of history before us in a form and in an attitude that their contemporaries could have never witnessed; confessing, describing, revealing themselves just to illustrate their character by their conversation, always dilating on their deeds instead of doing them. But of all the braggarts in theatrical history, Bulwer’s Richelieu is the most vainglorious and the most intolerable. It is all very well for the author to say in his preface that the cardinal was the father of French civilisation and the architect of the monarchy; he may say what he likes: but we cannot stand Richelieu when he talks of himself in the same strain and in the third person, just as Michelet and Carlyle might in a fit of raving; nor when he counterfeits death in order to play the ghost, nor when he weeps theatrically, and addresses declamatory love messages to “La France.”—“France, I love thee—Richelieu and France are one!” Nor can we believe in him when he sees modern France come to life again from out the cinders of feudalism. After such nonsensical dicta, indeed, one would be hardly surprised to hear him exclaim, “I am the precursor of 1789; what I cannot consummate, Bonaparte shall achieve in the Sessions of the Conseil d’Etat!”
The secondary characters are one idea’d. Beringhen can say nothing but “Let’s discuss the pâté!” and the Duc d’Orleans is limited to “Marion dotes on me.” To the tragi-comedy there is tacked on a melodrama made after the approved methods of the Boulevard—a succession of events and surprises which cancel out. You feel you are expected to shout, Bravo Richelieu! bravo Baradas! Just as at the Porte Saint Martin or at the Ambigu you cry out, Bravo d’Artagnan! bravo Mordaunt! It is the system of Dumas without his art.
Lord Lytton lacked both imagination and ingenuity. His effects are poor, and he overdoes them. The first resuscitation of Richelieu comes near to impressing one, the second is simply silly. The kernel of the play consists of a document which passes through every pocket but never reaches