Books and Persons - Arnold Bennett (phonics readers .TXT) 📗

an official perfunctory way, the inexcusable behaviour of the nation towards its artists.

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As regards my own assertion that genuine artists will seldom produce their best work unless they really do want money, I fail to see how it conspires with Lord Rosebery's assertion. Moreover, I must explain that I was not thinking of poets. I was thinking of prose-writers, who do have a chance of making a bit of money. Money has scarcely any influence on the activity of poets, because they are aware that, no matter how well they succeed, the chances are a million to one against any appreciable monetary reward. An extreme lack of money will, of course, hamper them, and must, of course, do harm to the artist in them. An assured plenty of money may conceivably induce lethargy. But the hope of making money by their art will not spur them on, for there is no hope. No! I ought to have said explicitly at the time that I had in mind, not poets, who by the indifference of the public are set apart from money, but of those artists who have a reasonable opportunity of becoming public darlings and of earning now and then incomes which a grocer would not despise. That these latter are constantly influenced by money, and spurred to their finest efforts by the need of the money necessary for the satisfaction of their tastes, is a fact amply proved by the experience of everybody who is on intimate terms with them in real life. It almost amounts to common literary knowledge. It applies equally to the mediocre and to the distinguished artist. Those persons who have not participated in the pleasures and the pains of intimacy with distinguished writers depending for a livelihood on their pens, can learn the truth about them by reading the correspondence of such authors as Scott, Balzac, Dickens, de Maupassant, and Stevenson. It is an absolute certainty that we owe about half the "Comedie Humaine" to Balzac's extravagant imprudence. It is equally sure that Scott's mania for landed estate was responsible for a very considerable part of his artistic output. And so on. When once an artist has "tasted" the money of art, the desire thus set up will keep his genius hard at work better than any other incentive. It occasionally happens that an artist financially prudent, after doing a few fine things, either makes or comes into so much money that he is wealthy for the rest of his life. Such a condition induces idleness, induces a disinclination to fight against artistic difficulties. Naturally! I could give living instances in England to-day. But my discretion sends me to France for an instance. Take Francois de Curel. Francois de Curel was writing, twenty years ago, dramatic works of the very best kind. Their value was acknowledged by the few, and it remains permanent. The author is definitely classed as a genius in the history of the French theatre. But the verdict has not yet been endorsed by the public. For quite a number of years M. de Curel has produced practically nothing on the stage. He has preferred to withdraw from the battle against the indifference of the public. Had he needed money, the hope of money would have forced him to continue the battle, and we should have had perhaps half a dozen really fine plays by Francois de Curel that do not at present exist. But he did not need money. He is in receipt of a large income from iron foundries.


HENRI BECQUE

_20 Oct. '10_

Henri Becque, one of the greatest dramatists of the nineteenth century, and certainly the greatest realistic French dramatist, died at the close of the century in all the odour of obliquity. His work is now the chief literary topic in Paris; it has indeed rivalled the Portuguese revolution and the French railway strike as a subject of conversation among people who talk like sheep run. This dizzy popularity has been due to an accident, but it is, nevertheless, a triumph for Becque, who until recently had won the esteem only of the handful of people who think for themselves. I should say that no first-class modern French author is more perfectly unknown and uncared-for in England than Henri Becque. I once met a musical young woman who had never heard of Ibsen (she afterwards married a man with twelve thousand a year--such is life!), but I have met dozens and scores of enormously up-to-date persons who had never heard of Henri Becque. The most fantastic and the most exotic foreign plays have been performed in England, but I doubt if the London curtain has ever yet risen on a play of Becque's. Once in Soho, a historic and highly ceremonious repast took place. I entertained a personage to afternoon tea in a restaurant where afternoon tea had never been served before. This personage was the President of the Incorporated Stage Society. He asked me if I knew anything about a French play called "La Parisienne." I replied that I had seen it oftener than any other modern play, and that it was the greatest modern play of my acquaintance. He then inquired whether I would translate it for the Stage Society. I said I should be delighted to translate it for the Stage Society. He expressed joy and said the Committee would sit on the project. I never heard any more.

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Becque wrote two absolutely first-class modern realistic plays. One is "La Parisienne." The other is "Les Corbeaux." Once, when I was in Paris, I saw exposed among a million other books in front of the window of Stock's shop near the Theatre Francais, a copy of "Les Corbeaux." Opening it, I perceived that it was an example of the first edition (1882). I asked the price, and to my horror the attendant hesitated and said that he would "see." I feared the price was going to be fancy. He came back and named four francs, adding, "It's our last copy." I paid the four francs willingly. On examining my trophy I saw that it was published by Tresse. Now Stock became Tresse's partner before he had that business to himself. I had simply bought the play at the original house of its publication. And it had fallen to me, after some twenty-five years, to put the first edition of "Les Corbeaux" out of print! I went home and read the play and was somewhat disappointed with it. I thought it very fine in its direct sincerity, but not on the same plane as "La Parisienne."

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Antoine, founder of the Theatre Libre, director of the Theatre Antoine during brilliant years, and now director of the Odeon (which he has raised from the dead), was always a tremendous admirer of Becque. It was through Antoine that Paris had such magnificent performances of "La Parisienne." He had long expressed his intention of producing "Les Corbeaux," and now he has produced "Les Corbeaux" at the Odeon, where it has been definitely accepted and consecrated as a masterpiece. I could not refrain from going to Paris specially to see it. It was years since I had been in the Odeon. Rather brighter, perhaps, in its more ephemeral decorations, but still the same old-fashioned, roomy, cramped, provincial theatre, with pit-tier boxes like the cells of a prison! The audience was good. It was startingly good for the Odeon. The play, too, at first seemed old-fashioned--in externals. It has bits of soliloquies and other dodges of technique now demoded. But the first act was not half over before the extreme modernness of the play forced itself upon you. Tchehkoff is not more modern. The picture of family life presented in the first act was simply delightful. All the bitterness was reserved for the other acts. And what superb bitterness! No one can be so cruel as Becque to a "sympathetic" character. He exposes every foolishness of the ruined widow; he never spares her for an instant; and yet one's sympathy is not alienated. This is truth. This is a play. I had not read the thing with sufficient imagination, with the result that for me it "acted" much better than it had "read." Its sheer beauty, truth, power, and wit, justified even the great length of the last act. I thought Becque had continued to add scenes to the play after it was essentially finished. But it was I who was mistaken, not he. The final scene began by irritating and ended by completely capturing the public. Teissier, the principal male part, was played by M. Numes in a manner which amounted to genius.

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"Les Corbeaux" was originally produced at the Theatre Francais, where it was not a success. All Becque's recent fame is due, after Becque, to Antoine. But now that Antoine has done all the hard work, Jules Claretie, the flaccid director of the Francais, shows a natural desire to share in the harvest. Becque left a play unfinished, "Les Polichinelles." Becque's executor, M. Robaglia, handed this play to M. Henri de Noussanne to finish--heaven knows why! M. de Noussanne has written novels entirely bereft of importance, and he is the editor of _Gil Blas_, a daily paper whose importance it would not be easy to underestimate; and his qualifications for finishing a play by Becque are in the highest degree mysterious. The finished play was to be produced at the Francais. The production would have been what the French call a solemnity. But M. Robaglia suddenly jibbed. He declared M. de Noussanne's work to be unworthy, and he declined to permit the performance of the play. Then followed a grand and complicated shindy--one of those charming Parisian literary rows which excite the newspapers for days! In the end it was settled that neither M. de Noussanne's version nor any other version of "Les Polichinelles" should ever be produced, but that the journal _L'Illustration_, which gives away the text of a new play as a supplement about twice a month, should give, one week, Becque's original incomplete version exactly as it stands, and M. de Noussanne's completed version the next week, to the end that "the public might judge." Then Stock, the publisher, came along and sought to prevent the publication on the strength of a contract by which Becque had bound himself to give Stock his next play. (Times change, but not publishers!) However, _L'Illustration_, being wealthy and powerful, rode over M. Stock. And the amateurs of Becque have duly had the pleasure of reading "Les Polichinelles." Just as "Les Corbeaux" was the result of experiences gained in a domestic smash-up, and "La Parisienne" the result of experiences gained in a feverish liaison, so "Les Polichinelles" is the result experiences gained on the Bourse. It is in five acts. The first two are practically complete, and they are exceedingly fine--quite equal to the very best Becque. The other acts are fragmentary, but some of the fragments are admirable. I can think of no living author who