Monsieur de Camors — Complete. Feuillet Octave

OCTAVE FEUILLET

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      OCTAVE FEUILLET’S works abound with rare qualities, forming a harmonious ensemble; they also exhibit great observation and knowledge of humanity, and through all of them runs an incomparable and distinctive charm. He will always be considered the leader of the idealistic school in the nineteenth century. It is now fifteen years since his death, and the judgment of posterity is that he had a great imagination, linked to great analytical power and insight; that his style is neat, pure, and fine, and at the same time brilliant and concise. He unites suppleness with force, he combines grace with vigor.

      Octave Feuillet was born at Saint-Lo (Manche), August 11, 1821, his father occupying the post of Secretary-General of the Prefecture de la Manche. Pupil at the Lycee Louis le Grand, he received many prizes, and was entered for the law. But he became early attracted to literature, and like many of the writers at that period attached himself to the “romantic school.” He collaborated with Alexander Dumas pere and with Paul Bocage. It can not now be ascertained what share Feuillet may have had in any of the countless tales of the elder Dumas. Under his own name he published the novels ‘Onesta’ and ‘Alix’, in 1846, his first romances. He then commenced writing for the stage. We mention ‘Echec et Mat’ (Odeon, 1846); ‘Palma, ou la Nuit du Vendredi-Saint’ (Porte St. Martin, 1847); ‘La Vieillesse de Richelieu’ (Theatre Francais, 1848); ‘York’ (Palais Royal, 1852). Some of them are written in collaboration with Paul Bocage. They are dramas of the Dumas type, conventional, not without cleverness, but making no lasting mark.

      Realizing this, Feuillet halted, pondered, abruptly changed front, and began to follow in the footsteps of Alfred de Musset. ‘La Grise’ (1854), ‘Le Village’ (1856), ‘Dalila’ (1857), ‘Le Cheveu Blanc’, and other plays obtained great success, partly in the Gymnase, partly in the Comedie Francaise. In these works Feuillet revealed himself as an analyst of feminine character, as one who had spied out all their secrets, and could pour balm on all their wounds. ‘Le Roman d’un Jeune Homme Pauvre’ (Vaudeville, 1858) is probably the best known of all his later dramas; it was, of course, adapted for the stage from his romance, and is well known to the American public through Lester Wallack and Pierrepont Edwards. ‘Tentation’ was produced in the year 1860, also well known in this country under the title ‘Led Astray’; then followed ‘Montjoye’ (1863), etc. The influence of Alfred de Musset is henceforth less perceptible. Feuillet now became a follower of Dumas fils, especially so in ‘La Belle au Bois Dormant’ (Vaudeville, 1865); ‘Le Cas de Conscience (Theatre Francais, 1867); ‘Julie’ (Theatre Francais 1869). These met with success, and are still in the repertoire of the Comedie Francaise.

      As a romancer, Feuillet occupies a high place. For thirty years he was the representative of a noble and tender genre, and was preeminently the favorite novelist of the brilliant society of the Second Empire. Women literally devoured him, and his feminine public has always remained faithful to him. He is the advocate of morality and of the aristocracy of birth and feeling, though under this disguise he involves