Part 43

I forgot to tell Mamie that I went (with Lady Molesworth) to hear "Faust" last night. It is a splendid work, in which that noble and sad story is most nobly and sadly rendered, and perfectly delighted me. But I think it requires too much of the audience to do for a London opera house. The composer must be a very remarkable man indeed. Some management of light throughout the story is also very poetical and fine. We had Carvalho's box. I could hardly bear the thing, it affected me so.

But, as a certain Frenchman said, "No weakness, Danton!" So I leave off.

PARIS, Wednesday, Feb. 4th, 1863.

MY DEAR FECHTER,

A thousand congratulations on your great success! Never mind what they say, or do, pour vous écraser; you have the game in your hands. The romantic drama, thoroughly well done (with a touch of Shakespeare now and then), is the speciality of your theatre. Give the public the picturesque, romantic drama, with yourself in it; and (as I told you in the beginning) you may throw down your gauntlet in defiance of all comers.

It is a most brilliant success indeed, and it thoroughly rejoices my heart!

Unfortunately I cannot now hope to see "Maquet," because I am packing up and going out to dinner (it is late in the afternoon), and I leave to-morrow morning when all sensible people, except myself, are in bed; and I do not come back to Paris or near it. I had hoped to see him at breakfast last Monday, but he was not there. Paul Féval was there, and I found him a capital fellow. If I can do anything to help you on with "Maquet" when I come back I will most gladly do it.

My readings here have had the finest possible reception, and have achieved a most noble success. I never before read to such fine audiences, so very quick of perception, and so enthusiastically responsive.

I shall be heartily pleased to see you again, my dear Fechter, and to share your triumphs with the real earnestness of a real friend. And so go on and prosper, and believe me, as I truly am,

Most cordially yours.

OFFICE OF "ALL THE YEAR ROUND," Thursday, Feb. 19th, 1863.

MY DEAREST MACREADY,

I have just come back from Paris, where the readings--"Copperfield," "Dombey" and "Trial," and "Carol" and "Trial"--have made a sensation which modesty (my natural modesty) renders it impossible for me to describe. You know what a noble audience the Paris audience is! They were at their very noblest with me.

I was very much concerned by hearing hurriedly from Georgy that you were ill. But when I came home at night, she showed me Katie's letter, and that set me up again. Ah, you have the best of companions and nurses, and can afford to be ill now and then for the happiness of being so brought through it. But don't do it again yet awhile for all that.

Legouvé (whom you remember in Paris as writing for the Ristori) was anxious that I should bring you the enclosed. A manly and generous effort, I think? Regnier desired to be warmly remembered to you. He looks just as of yore.

Paris generally is about as wicked and extravagant as in the days of the Regency. Madame Viardot in the "Orphée," most splendid. An opera of "Faust," a very sad and noble rendering of that sad and noble story. Stage management remarkable for some admirable, and really poetical, effects of light. In the more striking situations, Mephistopheles surrounded by an infernal red atmosphere of his own. Marguerite by a pale blue mournful light. The two never blending. After Marguerite has taken the jewels placed in her way in the garden, a weird evening draws on, and the bloom fades from the flowers, and the leaves of the trees droop and lose their fresh green, and mournful shadows overhang her chamber window, which was innocently bright and gay at first. I couldn't bear it, and gave in completely.

Fechter doing wonders over the way here, with a picturesque French drama. Miss Kate Terry, in a small part in it, perfectly charming. You may remember her making a noise, years ago, doing a boy at an inn, in "The Courier of Lyons"? She has a tender love-scene in this piece, which is a really beautiful and artistic thing. I saw her do it at about three in the morning of the day when the theatre opened, surrounded by shavings and carpenters, and (of course) with that inevitable hammer going; and I told Fechter: "That is the very best piece of womanly tenderness I have ever seen on the stage, and you'll find that no audience can miss it." It is a comfort to add that it was instantly seized upon, and is much talked of.

Stanfield was very ill for some months, then suddenly picked up, and is really rosy and jovial again. Going to see him when he was very despondent, I told him the story of Fechter's piece (then in rehearsal) with appropriate action; fighting a duel with the washing-stand, defying the bedstead, and saving the life of the sofa-cushion. This so kindled his old theatrical ardour, that I think he turned the corner on the spot.

With love to Mrs. Macready and Katie, and (be still my heart!) Benvenuta, and the exiled Johnny (not too attentive at school, I hope?), and the personally-unknown young Parr,

Ever, my dearest Macready, your most affectionate.

OFFICE OF "ALL THE YEAR ROUND," Thursday, Feb. 26th, 1863.

MY DEAR MARGUERITE,

I think I have found a first-rate title for your book, with an early and a delightful association in most people's minds, and a strong suggestion of Oriental pictures:

"ARABIAN DAYS AND NIGHTS."

I have sent it to Low's. If they have the wit to see it, do you in your first chapter touch that string, so as to bring a fanciful explanation in aid of the title, and sound it afterwards, now and again, when you come to anything where Haroun al Raschid, and the Grand Vizier, and Mesrour, the chief of the guard, and any of that wonderful dramatis personæ are vividly brought to mind.

Ever affectionately.

OFFICE OF "ALL THE YEAR ROUND," Wednesday, March 4th, 1863.

MY DEAR CHARLES KNIGHT,