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Of entertainmentsfounded upon Mr. du Maurier's book, the name is legion. The most pretentious, and at the same time the most successful, was the series of "Scenes and Songs from 'Trilby,'" given at Sherry's in the afternoon and again in the evening of Saturday, February 9, for the benefit of that admirable institution, the New York Kindergarten Association. The affair, which had the advantage of distinguished patronage, was given under the special management of Mrs. Charles H. Ditson; Mr. E. Hamilton Bell arranged the details of scenery and costume; and among those who personated the various characters were several well-known artists.
The audience was a large one, which was excellent for the little ones who were to be benefited; and it was enthusiastic, which was only a just and fit tribute to managers, performers and singers. Every detail of the tableaux had been thought out with infinite care, and posing, grouping and make-up were as near perfection as du Maurier himself could have wished. The program included the singing of "Ben Bolt," "Bonjour, Suzon," "Au Clair de la Lune" and several other songs, and the following tableaux:—"The Three Musketeers of the Brush"; "Wistful and Sweet"; "Svengali"; "I will Not!"; "All As it Used to Be"; "Answer Me, Trilby!"; "The Soft Eyes"; "The Sweet Melodic Phrase"; "Dors, Ma Mignonne"; "The Nightingale's First Song"; "Malbrouck" and "It was Trilby." The entertainment opened most effectively with a quartet by Messrs. Devoll, Moore, Bracewell and Devoll. The first tableau, "Three Musketeers of the Brush," received the admiration it deserved, as did, also, the singing of Miss Akers and Mr. Mackenzie Gordon interspersed with the different tableaux. The first appearance of Trilby was awaited with impatient expectancy, and when she came, she proved to be "wistful and sweet," indeed, in the person of Mrs. Eric Pape, the wife of the well-known young artist. The last tableau of the second part, "It was Trilby," was most effectively arranged by Mr. Pape. The full cast of characters was as follows:—Trilby, Mrs. Eric Pape; Taffy, W. Harris Roome; The Laird, Evert Jansen Wendell; Little Billee, J. Gerald Benkard; Svengali, Robert Reid; Gecko, Eric Pape; Dodor, William Abbott; Zouzou, Franklin C. Butler; Mrs. Bagot, Mrs. J. Wells Champney; Miss Bagot, Miss Lilian Wing; Mme. Malbrouck, Mme. Bettini;Durien, Leslie G. Cauldwell; Blanchisseuse, Miss Lou-lou Noel; Fencer, Lieut. Gianni Bettini.
During the intermission between the first and second parts of the program, Mrs. Kate Douglas Wiggin sold a copy of "Trilby" presented by the Messrs. Harper. To this Mr. du Maurier and Mr. Henry James (who persuaded the author to write the book) had contributed their autographs, and Dr. English a manuscript copy of his song "Ben Bolt." The volume fetched $100, making the net addition to the Kindergarten Association's treasury about $2500.
* * *
At Mr. Mansfield'sGarrick Theatre, "Trilby" has been burlesqued. It had already been parodied in book-form, produced as a melodrama, read aloud in drawing-rooms, with music, and put on the platform in "scenes and songs," so that nothing was left to do with it but to make an "operatic burlesque" of it; and this was duly accomplished by Messrs. Joseph W. Herbert and Charles Puerner, the latter being responsible for the music and the former for the words. The piece is called "Thrilby." As in the serious play founded upon the novel, the villain (rechristened "Spaghetti") is the principal figure; and mesmerism is carried to a ridiculous excess, even inanimate objects succumbing to its influence. There is a farce within this farce; for "Mme. Sans-Gêne" is parodied in a sub-play introduced under the name of "Mme. Sans Ra-Gêne." The burlesque is by no means free from horse-play, but it unquestionably accomplishes its purpose, which is merely to amuse.
At the Casino, as well as at the Garrick, "Trilby" and "Mme. Sans Gêne" have both been travestied.
* * *
(Harper's Weekly)
"TheWeeklyhas received a copy of the programme of a novel and decidedly interesting literary and musical entertainment that was given on Oct. 17, at Omaha. It was called 'An Evening with Trilby.' The participants were all gentlemen. The subjects of the papers read were 'The Story of Trilby,' 'Du Maurier, his Life and Work,' 'The French of Trilby,' 'The Identity of the Artists in Trilby,' 'Trilby's Voice and Method,' 'Trilby as a Hypnotic Subject,' 'Could Trilby be Successfully Dramatized?' After each paper there was Trilby music, which included 'Ben Bolt,' 'Au Clair de la Lune,' 'Malbrouck s'en va-t-en Guerre' and other songs and instrumental pieces. At the end of the programme comes the inquiry, What shall we 'ave the pleasure of drinkin' after that werry nice 'armony?' and then the page turns over to the farewell couplet:—
"It is a pretty far cry from Paris to Omaha, but Trilby's voice seems to have carried that distance without the least trouble. It is worth remarking that these Omaha gentlemen made seven 'papers' about her without finding it necessary to discuss her morals."
* * *
Of the many"Trilby" entertainments in New York one of the most successful was given in May, at the house of Postmaster Dayton, for the benefit of St. Luke's Home for Indigent Christian Females. A literary criticism of the book was read, and one of the chapters of the story; and the songs that are oftenest alluded to were sung. The affair was given under the auspices of the Daughters of the Revolution.
* * *
"Trilby's" wide popularity—in the sense that many people who are not, ordinarily, novel-readers take a lively interest in it—is evidenced by many indications, not the least significant being the concerts made up from the music mentioned in the novel. One such was given in San Francisco last December, under the management of the ladies of the Mercantile Library Auxiliary and for the benefit of the Library's unfortunately slender exchequer. According toThe Argonaut, a very interesting program was presented, including Schubert's "Rosamonde," Adam's "Cantique de Noël," Chopin's Impromptu in A flat, "Bonjour Suzon," "Le Capitaine Roquefinette" and the much-discussed "Ben Bolt."
* * *
"Trilby" representationshave broken out in all sorts of strange places. At the Eden Musée, New York, Miss Ganthony has been restrained from impersonating du Maurier's heroine; and at "The Greatest Show on Earth," Miss Marie Meers, who has not been restrained, appears nightly in Trilby costume, riding bareback (not barefoot) around the tan-bark to the snapping of ringmaster Svengali's whip.
Mr. du Maurierand Mr. James took a walk together, one day, and the artist unfolded to the novelist the plot of "Trilby," suggesting that he should use it in a novel. Mr. James persuaded him to write the story himself. He did so; and what has been the result? Think of the time and skill, the money and material that have been employed in putting the thing in type, preparing its illustrations, printing it as a serial and reprinting it in book-form; in dramatizing it, burlesquing it in books and on the stage, in adapting its songs and illustrations for reproduction on lecture-platforms and in drawing-rooms, and in translating and publishing Nodier's tale, from which the author took his title! Its presentation has given employment, onerous or enjoyable, honorary or remunerative, to thousands; hundreds of thousands have read it, and hundreds of thousands seen it on the stage; and its leading characters—Trilby, Svengali and "the three musketeers of the brush"—have become household names and personalities. It has enriched its author, added to the wealth of its publishers, put money in the purses of playwright and manager and replenished the treasuries of more than one excellent charity. Directly or indirectly, no doubt, it has caused much more than a million dollars to change hands within the past eighteen months. And last but not least, it is responsible for this pamphlet, in which is chronicled the story of its rise and progress.
* * *
At theMercantile Library, New York, it was found necessary, at the time when "Trilby" was in greatest demand, to circulate a hundred copies of the book; at the beginning of June the number in circulation was seventy. Mr. Wingate wrote toThe Criticfrom Boston, in June, that there were six copies of the book in the main building of the Public Library, and one in each of its branches, but that this supply was inadequate, 72 demands for the book having come from the branch libraries in a single day. And Mr. Hild writes to us from Chicago that the Public Library of that city has 26 copies, but that they do not begin to supply the demand. "I believe we could use 260 and never find a copy on the shelves. Every one of our 54,000 card-holders seems determined to read the book."
On the pointof the morality or immorality of the book,The Independentsays:—
"Mr. du Maurier, apparently in deference to the current craze for heroines that have been seduced, or are just going to be, bedaubs the first fifty pages of his otherwise clean story with telling how his pure heroine, Trilby, ablanchisseuse de fin, had been led astray, and so forth. That is to say, he unnecessarily goes behind the true door of his story to wash some dirty linen, and then he sets forth."
On this point the San FranciscoArgonautdoes not agree with its New York contemporary:—
"With those who think these passages immoral, we cannot agree. Mr. du Maurier has treated with candor some facts belonging to the realm of things which are usually understood instead of being talked about; but he has done this with singular manliness and delicacy, and with entire absence of mawkish or other improper sentiment. The impression of Trilby's character left upon the reader is entirely that of a noble, generous woman, whose life is not a sin, but a tragedy."
The same paper reproduces "a letter Mr. du Maurier wrote to a Paterson, N. J., man who contended that the relations of Trilby with her hypnotizer were chaste, so far as her consciousness of them went, and decided to find out if he were right by writing to the novelist":—
"New Grove House, Hampstead Heath,"October 31, 1894.
"Dear Sir: In answer to your letter of September 24th, I beg to say that you are right about Trilby. When free from mesmeric influence, she lived with him as his daughter, and was quite innocent of any other relation. In haste, yours very truly,
"G. du Maurier."
* * *
Early inMarch, 1895, one of the Boston clergymen advertised Robert Grant's "Art of Living," as our Boston correspondent reported at the time, and on Sunday, March 17, another prominent minister took up "Trilby." So it is evident that, even if Boston authorship is on the decline, as so many New Yorkers enviously declare, the Boston clergy are going to keep alive the interest in literary matters by emphatic words to their congregations. "Have you read 'Trilby'?" was the theme of the Rev. George W. Bicknell's sermon, and the topic crowded the church. The Reverend Doctor declared that he had spent five hours reading the book, and had decided that it was a story of magnificent possibilities, but that its morality was "as one viewed it." He considered the tale far-fetched and over-drawn and lacking in healthful flavor, and placed it in the same class of artwith the nude paintings at the World's Fair—a position to which, we presume, the author would not object. Then he launched out into an emphatic declaration that it was time for the pulpit to speak out against art of this kind.
* * *
Du Maurier'sheroine has been heard of over in Brooklyn. A married woman, aged twenty-nine, got into a dispute with her husband, recently, as to the morals of the young model, and proved her point by "smashing him over the head with an earthenware jar." In the newspaper in which we read of this intemperate act, the husband's age is not given, nor the side he took in the argument, before he was shown to be wrong. The fact that he got his head broken proves little—except the folly of arguing with a woman; nor the additional fact that he refused to appear against his wife in court. But the case is one in which a good deal might be said on both sides—if earthenware jars were not introduced too early in the discussion.
* * *
Mr. du Maurierhas worse offenses to atone for than the breaking of the Brooklyn man's silly head. But for his entertaining book we should have been spared the unreadable prose of "Biltry: a Parody on 'Trilby'" and the unspeakable verse of "Drilby Re-versed," the former by Mary Kyle Dallas, the latter by Leopold Jordan. In vulgarity and banality, these two precious productions run each other a close race. Of the two we think "Drilby" a trifle the less objectionable, merely because the proportion of text to white paper is somewhat smaller. Both are poorly illustrated, and printed on much better paper than they deserve.
* * *
E. C. of New Albany, Ind., thinks that "Trilby's" possibilities as a vehicle of evil to the much-considered American "young person" are emphasized by a conversation recently overheard by her between two feminine "young persons" in Indiana. "What is this 'Trilby' everybody is talking about?" asked one of these. "Oh," replied the other, "it's a book—a novel." "They say it is awfully bad," said the first young person. "Yes, I've heard so; but it isn't so at all. I read it clear through, and there wasn't anything bad in it. I didn't like it either; there is too much French in it." "French?" commented the first young woman; "well that's it, then—all the bad part is in French." "I hadn't thought of that," mused the other one; "I suppose that's just the way of it. Anyway, it isn't nearly as good as 'Dally.'"
PLATT. THE NEW SVENGALI.PLATT. THE NEW SVENGALI. THE HYPNOTIZING OF MORTON. Have you read "Trilby?" Svengali was a bad, wicked man, who used to hypnotize poor, sweet little Trilby and make her sing and act as he pleased—With apologies to Du Maurier.THE HYPNOTIZING OF MORTON.Have you read "Trilby?" Svengali was a bad, wicked man, who used to hypnotize poor, sweet little Trilby and make her sing and act as he pleased—With apologies to Du Maurier.
THE HYPNOTIZING OF MORTON.
Have you read "Trilby?" Svengali was a bad, wicked man, who used to hypnotize poor, sweet little Trilby and make her sing and act as he pleased—With apologies to Du Maurier.
"Trilby" has even got into American politics. This shows better than anything else how wide an audience the story most have reached. How many allusions to a book of the current year would be comprehensible to the average reader of a New York daily paper? We reproduce the accompanying cartoon from theWorldof Dec. 9 as a curiosity of literature and an interesting contribution to "Trilbyana." It is adapted from Mr. du Maurier's drawing entitled "Et Maintenant Dors, ma Mignonne!"
* * *
A Broadway caterer now "molds his ice-cream in the shape of a model of Trilby's ever-famous foot." Mr. du Maurier can want no greater evidence of the popularity of his story in America. That there is not a "Trilby" shoe on the market reflects little credit upon the enterprise of our bootmakers. It is an opportunity that no soap-maker would neglect if it came his way. Possibly the fact that Trilby's foot was large (as well as shapely) has something to do with the shoemakers' backwardness. Hers were not Cinderella slippers. ("The Lounger," 30 March, 1895.)
Mr. C. W. Coleman, Librarian of William and Mary College, writes from Williamsburg, Va., to say that I am in error in supposing that the bootmakers of this wide-wake countryhave not yet seized the name of du Maurier's heroine for advertising purposes. In his note of correction he encloses a clipping from the catalogue of a Chicago house, containing a picture of a high-heeled ladies' shoe, flanked by an advertisement of "'The Trilby,' price $3, postage 15 cts.—'an ornament to any foot,'" etc. And I hear that the shop-windows of Norfolk, Va., fairly bristle with shoes of this brand. Moreover, a bootmaker's advertisement in the PittsburgPostshows (as a punning Pennsylvania correspondent writes to me) that "Trilby has obtained a foothold even in the Iron City." According to the advertisement, "this enterprising firm offer to the lady sending in the most accurate dimensions according to the diagram above, together with a drawn outline of the nude foot on paper, a handsome pair of the highest grade 'Trilby' shoe, which they will have made up especially for the winner. This stylish foot adornment for Pittsburgh's model feet will be satin or silk lined throughout, of the finest quality kid and best workmanship. Bear in mind, ladies, it need not be the smallest feet that win, but the most perfect form of a foot from a standpoint of proportionate measurements." ("The Lounger," 13 April, 1895.)
* * *
G. A. D. writes from Philadelphia to deplore the Quaker City's vulgarization of the name and fame of Trilby; and in justification of his plaint encloses a Chestnut Street dealer's advertisement of the "Trilby Sausage"! This, it is claimed, "is something new, and fills a long-felt want"; "they melt in your mouth." They don't melt in G. A. D.'s mouth, but they rankle in his æsthetic soul. "What next?" he exclaims; "an Ophelia tooth-wash, a Duchess of Towers garbage-pail!" Our correspondent has not yet heard of the "Trilby Ham." This, if anything, is worse than the Sausage. It has been heard of in this city; whether or no it originated here, I do not care to inquire. But in an Eighth Avenue dime-museum, there are "Twenty Trilbys," and visitors vote for the handsomest! Moreover, we have now the "Trilby Hearth-brush"; and huge posters on the East Side announce a picnic of the "Trilby Coterie and Chowder Club."
* * *
The Evening Postreprints from James Braid's "Observations of Trance" (1850, page 43) the following paragraph, which is of singular interest in connection with the novel which has made such an extraordinary sensation in this country during the past year, and has become as great a success on the stage as in book-form. Svengali's transformationof a girl with no ear for music into a singer of marvellous powers seems to have been almost paralleled in real life, half a century ago:—
Du Maurier's House. Hampstead Heath.DU MAURIER'S HOUSE.HAMPSTEAD HEATH.
"Many patients will thus repeat accurately what is spoken inanylanguage; and they may be also able to sing correctly and simultaneously both words and music of songs in any language which they have never heard before—i. e., they catch the words as well as music so instantaneously as to accompany the other singer as if both had been previously equally familiar with both words and music. In this manner a patient of mine, who, when awake, knew not the grammar of even her own language, and who had very little knowledge of music, was enabled to follow Mlle. Jenny Lind correctly in songs in different languages, giving both words and musicso correctly and so simultaneously with Jenny Lind, that two parties in the room could not for some time imagine that there were two voices, so perfectly did they accord, both in musical tone and vocal pronunciation of Swiss, German and Italian songs. She was equally successful in accompanying Mlle. Lind in one of her extemporaneous effusions, which was a long and extremely difficult elaborate chromatic exercise, which the celebrated cantatrice tried by way of taxing the powers of the somnambulist to the utmost. When awake the girl durst not evenattemptto do anything of the sort; and, after all, wonderful as it was, it wasonly phonic imitation, for she did not understand the meaning of a single word of the foreign language which she had uttered so correctly."
* * *
(Miss Frances Albert Doughty, in The Critic, 15 June, 1895.)
"The strength of 'Trilby' as a novel lies in the exquisitely dear realization of the good in the girl's nature, which the fine art of the author has been able to give to the reader. The divine in the Laird, in Taffy and in Little Billee responded to the divine in that undeveloped girl, and to them the angel in her was the real Trilby in spite of all her past experience. But idealism and realism in this charming story are not quite happily balanced: the reader receives a blow on the spiritual side of his being from the manifestation of an agency in the universe that is endowed with an all-conquering malevolence, something extraneous from the individual and yet able to arrest in her the growth of the budding germ of holiness and moral beauty, a power triumphant even at the moment when her spirit was about to return to the God who gave it. Without Svengali there would be no novel of Trilby; nevertheless, he is the sole blot upon it."
* * *
(San Francisco Argonaut)
"Perhaps the most surprising circumstance connected with 'Trilby' in the eyes of American readers is the way thebook has been received in England. At best it has been accorded lukewarm praise, and the tone of its reviews has run the gamut down to downright slating. Some have been spiteful enough to be exceptionally entertaining. Of these, that ofThe Pall Mall Gazetteis the most striking, the reviewer of that journal showing himself to be (as an exchange puts it) a master of vituperative diction. To this reviewer, 'Trilby's' three Englishmen are 'British prigs cut in pasteboard,' and their biographer is denied even the poor ability to express himself in grammatical English."
* * *
To the Editors of The Critic:—
If there yet remains a word to be said in criticism of this book, it may, perhaps, be in regard to the musical part of it. Whether intentionally or not, du Maurier has certainly added an instance, which tends to prove the theory true, that music in itself is neither elevating nor refining. Svengali is drawn with inimitable skill, and with so much realism that the reader feels that he must have been known and hated by du Maurier in all his repulsiveness. And yet this loathsome creature has the power of so seizing and expressing the noblest works of the great masters of harmony as to move his hearers to tears, to sway them at his will by the tenderness and feeling he puts into the notes. It is a hard thing for a music-lover to comprehend, that a man of low and vicious life, and utterly without aspirations, can so express the penetrating beauty that lies in music more than in any other art. It shows, too, that music gives us only what it finds in us, and proves the folly of "program music," or music with a translation.
Auburn, N. Y.S. M. Cox.
(Mrs. Emma Carleton, in the Louisville Courier-Journal.)
"A great deal has been said and written about 'Ben Bolt,'" said a woman who doesn't pretend to be musical, "and the other songs of the Trilby repertoire; but I have not yet seen or heard any comment on Trilby's 'great and final performance'—the vocalization of Chopin's Impromptu, A flat. Du Maurier devotes two entire pages to most wonderful description of this wonderful musical achievement; two exquisite pages of music painted in words, in most masterly and matchless fashion. Who can forget the depiction of La Svengali's voice, 'as a light nymph catching the whirl of a double-skipping rope as she warbles that long, smooth, lilting, dancing laugh, that wondrous song without words.' This impromptushould be rechristened the 'Trilby Impromptu,' and musicians everywhere should now—while the Trilby wave is riding high—be charming their audiences by playing it."
* * *
The Oliver Ditson Co. has published a pamphlet of "Trilby" songs, etc., containing the words and music of "Ben Bolt," "Malbrouck," "Bonjour, Suzon," "Der Nussbaum" ("The Nut-tree") "Cantique de Noël" and "Au Clair de la Lune," and the music of Chopin's "Impromptu."
* * *
On March 1, 1895, a postcard was sent from the office ofLife, calling the attention of "exchange editors" throughout the country to "A 'Trilby' Examination." We reprint the card in full:—
"Life's Monthly Calendaroffers a series of cash prizes for the best sets of replies to the following questions on 'Trilby':
1. What does the author claim as the king of all instruments? Who does he claim was the greatest violinist of his time? What does he call the most bourgeois piece of music he knows?
2. What was Svengali's real name?
3. Where does the author state that he is a social lion? Where does he deny that he is a snob?
4. Where does he bring Little Billee in contact with Punch?
5. What did the Laird call M. le général Comte de la Tour-aux-Loups?
6. In what places does the author compare Gecko to a dog?
7. How old was Trilby when she died?
8. What was Little Billee's physical explanation of his inability to love?
9. What verbal description of one of the heroes contradicts almost every one of the author's drawings of him?
10. What incident of the story is inconsistent with the author's own argument in behalf of the nude in art?
———
"Dear Sir: The above questions are covered by our copyright, but in view of the popular interest in 'Trilby,' you may wish to reproduce them. We should be more than pleased to have you do so, if you will give us credit.
Yours very truly,
James S. Metcalfe,Editor and ManagerLife's Monthly Calendar."
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Dr. Thomas Dunn English wrote the words of "Ben Bolt" in New York, in 1842, when he was a young man of three-and-twenty. Mr. N. P. Willis had asked him to write a sea-song forThe New Mirror, and so he wound up the last stanza with an allusion to "the salt-sea gale!" As a sea-song, "Ben Bolt" is not a success; but it has been sung on every sea and in every land where the English tongue is spoken. At Pittsburgh, Pennsylvania, in 1848, an English journalist named Hunt quoted the words (from a defective memory) to Nelson Kneass, who was attached to the local theatre; and, adapted by Kneass to a German melody, the song, in a somewhat garbled version, was introduced in a play called "The Battle of Buena Vista." In Helen Kendrick Johnson's "Our Familiar Songs, and Those Who Made Them" (Henry Holt & Co., 1881), the story of its vogue in England as well as in America is told effectively. Not only were ships and steam-boats named in its honor, but a play was built upon its suggestions, and as recently as in 1877 an English novelist made the memories evoked by the singing of the song a factor in the development of his catastrophe. Its revival at the hand of Mr. du Maurier is the latest and perhaps the most striking tribute to its hold upon the popular heart. To the author himself—in his ripe old age a member of the LIIId Congress—its fame is seemingly a bore, for he is quoted as saying:—"I am feeling very well and enjoying life as well as an old man can, but this eternal 'Ben Bolt' business makes me so infernally weary at times that existence becomes a burden. The other night, at a meeting of a medical association at my home in Newark, some one proposed that all hands join in singing 'Ben Bolt,' whereupon I made a rush for the door, and came very near forgetting the proprieties by straightway leaving home. However, I recovered my equilibrium and rejoined my friends. I don't think that General Sherman ever grew half so tired of 'Marching Through Georgia' as I have of that creation of mine, and it will be a blessed relief to me when the public shall conclude to let it rest."
Apropos of the use made of the song in "Trilby,"Harper's Bazarpublished the words and music; whereupon the author sent this letter to the editor:—
"It is very pleasing to an old man like myself to have the literary work of a half-century since dragged to light and commended,as has been the case with 'Ben Bolt' of late. I was flattered by seeing my likeness—or, rather, the likeness of a younger man than myself—in your pages; but I must protest against some errors which, in spite of careful editing, enter into your transcription of the song. The words of the original were:—
"This has been changed in the song, as usually sung, to read:—
"You have copied this, but in a better shape, with the exception of changing the rhythm. I must protest against this change, because the school-masters of between sixty and seventy years since were, to my memory, 'cruel and grim'; they were neither kind nor true. They seemed to think the only way to get learning into a boy's head was by the use of the rod. There may have been exceptions, but I never met them. At all events, 'what I have written I have written.'"
Ben Bolt
———
To the Editors of The Critic:—
In your columns of "Trilbyana" I have seen no mention of the fact that George W. Cable, in his "Dr. Sevier"—a thousand times better novel and better work, in every way, than "Trilby,"—has introduced the old song "Ben Bolt" with wonderful effect. It is strange that the old melody should have appealed to the two men, so widely apart, and it is but fair that the American's first, and most skilful, use of it should have due recognition.
Philadelphia.John Patterson.
* * *
To the Editors of The Critic:—
Du Maurier says that there is but one verse of the little French song, which Trilby sings with so much effect—"Au clair de la lune." He mistakes; there is another, running thus:—
The two missing lines have escaped the memory of the writer.
Auburn, N. Y.S. M. Cox.
———
Your correspondent, S. M. Cox, offers some more verses of "Mon Ami Pierrot." They do not quite agree with those taught me, shortly after the Revolution of 1848, by an old French gentleman. You will notice that the French of the last verse is quite "eighteenth-century" in style and diction.
———
Mr. du Maurier was correct in saying that there is only one verse of "Au Clair de la Lune"; yet there are possibly, and probably, a thousand made in imitation of it, which go to the same air. We quote from the San FranciscoArgonaut:—
"It is to be observed that theseamateurs de Trilbydo not go the length of singing 'Au Clair de la Lune,' even repeating the first stanza twice, as Trilby did. But perhaps they are as ignorant concerning the song as is Mr. du Maurier, who declares there is but one verse. There are four. The first is given in 'Trilby' thus:—
The second runs:—
The third stanza contains the point of the song:—
The fourth stanza continues in the same strain, and it goes farther."
———
"Malbrouck s'en va't en Guerre"
———
There is no more eloquent description of the effect of music on an impressionable nature than du Maurier gives of the impression made upon Little Billee by the singing of Adam's "Cantique de Noël" at the Madeleine on Christmas Eve.
Cantique de Noël
To the Editors of The Critic:—
The liquid name, "Trilby," of du Maurier's heroine having been duly run down to its source, will a slight excursus be amiss as to the origin of the affectionate title applied by the novelist on his charming little hero—"Little Billee"? Evidently the name, together with certain descriptive touches, has been taken from Thackeray's ballad, "Little Billee." This racy skit, as many doubtless know, is in the best vein of the great humorist's inimitable burlesque. It narrates the tragic cruise of
the second stanza running thus:—
And the unpleasant ultimatum being arrived at, that "We've nothing left, us must eat we," the poem continues:—
Here, I say, we have the origin of the novelist's "Little Billee," while, in the italicized phrases, we have also du Maurier's, "the third, he was little Billee" (page 6), and "he was young and tender, was little Billee."
It would be sheer nonsense, of course, to urge against the famous novelist any charge of unacknowledged borrowing in matters so entirely trivial. The point is merely a curious one of origins; a little siccatine botanizing, so to speak, on thefolia disjectathat have been wonderfully spun by du Maurier's genius into a fabric of grace and beauty so rare as is this "Trilby." Nor, indeed, should the further fact be a detraction from the gifted author of "Trilby," that his indebtedness to Thackeray is obviously greater than in the minutiæ under consideration—that, in fact, he has caught from the great immortal the note of much that is best in his book. In his limpid, graceful simplicity of words, and their easy, natural flow—in his delicate, playful humor, and tender but not overwrought pathos, we discover a careful study offound only a few general remarks about fairies, their habits and habitations, nothing in the least resembling the story of Jeannie's lover. Perhaps Nodier was mistaken about his source. As he travelled in the Highlands, he may possibly have "collected" the tale at first hand, and, there being no folk-lore societies in those early days of romanticism, he was not aware of the honor that thus accrued to him. It cannot have evolved itself from a mere hint. We appeal to Mr. Lang to take up and follow the chase farther. He might be worse occupied than in tracing out the original John Trilby MacFarlane, and whence he got his English-sounding name, his fairy powers and his connection with Saint Columba—the last probably from Nodier himself, who may have been reading Montalembert's "Monks of the West" before setting out upon his pilgrimage. Mr. Dole, by the way, irreverently converts the Dove of the Churches into a "Saint Columbine," unknown to any respectable hagiographer. Think, Mr. Lang, what a delightful coil this romancing Frenchman, let loose among your Hielan' men, fairies, monks and Scotch novels, has made for you to straighten out, and how many strange discoveries may be made while you are about the job!
Miss Smith (2) has prepared another translation of Nodier's story, and, though there is little choice between her version and Mr. Dole's, we prefer it. It seems a trifle less exact, but it is more idiomatic; and, if anything, she perhaps intensifies the local color a little, which does not do the tale any harm. Her book is got up in tartan cover; Mr. Dole's has a design adapted from Paul Konewka.
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Mr. Richard Mansfield has secured from Estes & Lauriat the right to dramatize and produce Mr. Dole's translation of Nodier's "Trilby, le Lutin d'Argail."