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Leader (1850-1860), 17th February 1855, Edition 1 of 2, Page 165, Untitled Article

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      Untitled Article

      reader that the author should at least appear to feel sincerely with his Saraeters . This Mr . Trollope , in the case of the young lady especially , seems to avoid . He exposes the womanly weakness of some of her motives with an easy satirical pleasantry which convinces us that he was himself not in the least affected by his love scene while he was writing it . There are certain maxims in Horace ' s Art of Poetry ( to refer to a classical example , this time ) which will remain great critical truths to the end of the world . Mr Trollope must know the maxims to which we refer very well , and he cannot do better than apply them to himself the next time he gives us a novel . The W arden abundantly shows that he has powers far above the average as a writer of fiction .

      Untitled Article

      THE DRAMA IN PARIS . The theatre of the Gymnase holds the same place amongst the houses of the Boulevards that the Theatre Fbancais , in spite of the chill that has lately come over it , still continues to hold amongst those of France . It is eminent both for the literary character of the pieces it produces and for the elegant perfection of its actors . In some respects it is more than a rival of the great classical establishment . The humour it indulges in is often more fully brought out , yet unsoiled by vulgarity ; and its pathos , though deprived of tragic grandeur , is generally deeper and more natural . For a long time , also , the name of one of the most charming actresses that France possesses—the Madame Vestris of that country Rose-Cheri , has been indissolubly connected with this theatre . She is now well supported by Geoffroy , Berton , and Lesdbuk , with Mademoiselle Figeac who , although she will allow her eyes to wander over the boxes in search of admirationwould be an ornament to any stage .

      , The last production of the Gymnase is a comedy in three acts , called the Ceinture JDoiee , by M . Ebiilb Augier , whose GendredeM . Toirier , written , or , at any rate , produced , according to French custom , in company with M . Jules Sandeau , introduced him Rafter a considerably wandering course from the Greek drama , by which he commenced ) into the realms of modern comedy . The times are unfavourable to versification of any kind ; and although M . Augier was snccessful in that difficult department of his art—arbitrarily difficult in France—we cannot regret that he has at length slipped down into plain prose . Without possessing the abrupt nervousness of Victor Hugo , or the audacious ^ facility of Scribe , M . Augier writes pointedly and well—now and then venturing on little semi-poetical flights , which are agreeable because kept well within bounds and naturally introduced . The Ceinture Dore ' e , .-without creating any great

      excitement , may be regarded as a success ^^ and will probably furnisbHxints to imitators who are accustomed to make original ideas their own by developing them broadly and coarsely . The plot , perhaps , if stated simply , without reference to the peculiarities of the characters employed to work it out , may be found to have many counterparts . It is a story of retribution , of wealth , somewhat unscrupulously , but not illegally amassed , bringing its own punishment during the natural evolution of the affairs of this life . But there is no great and cumbersome mystery even hinted at in the past ; and -cjiastisement is not dealt out according to the ordinary rules of poetical justice , so sure to bring down thunders Of applause from the gallery . The machinery of the piece is almost entirely moral ; and it would have been better , though more difficult , to make it

      entirely so . The principal character , played with perfect ease and simplicity by Geoffrey , is a certain M . Mousse / , a great speculator of yore , a man who boasts—without the emphatic vulgarity of a Mr . Bounderby—that he has risen from nothing , that he came to Paris in sabots , and that by means which are only alluded to , and which at the opening of the piece he really considers to have been perfectly justifiable , he has amassed a very large fortune . The worthy man consequently , although from old habit he continues with a recklessnessjvvhich , by . the way , is not often found even on the Paris Bourse , to risk his whole havings on the " rise " or the "faH" — a trait introduced to bring about a clumsy catastrophe—the worthy man , we say , is consequently at ease with himself and the world . He is so wealthy that he enjoys ** every thing that can be bought , " and besides this , he has a lovely and affectionate daughter , just of the marriageable age . His sentiments on this

      latter subject are not common among parvenus . He is nobly indifferent as to the worldly position of the persons who seek his daughter ' s hand , and , indeed , he leaves her at perfect liberty to choose for herself . All he asks is that his sonin-law should be a man of honour and integrity . He has a great respect for honour and integrity , being now rich enough to indulge in that luxury . Out of this respectable state of mind his punishment is ingeniously made to spring . Caiiste ( Madame Rose-Cheri , who plays this part in her usual unaffected manner ) , being left to look around the world and make choice of a master , is disquieted by the idea that she is more to be sought , not for her own qualifications , but for her dowry , and , although in every way fascinating , her fear does not seem unreasonable . In a graceful opening scene , in which a Madame Amdie ( Mdlle . Fiqeao ) , whose position is not very clearly defined , plays the part of confidante , the young heiress expresses her romantic longings . It comes out , too , that she has found a beau-ide " al , not in her own imagination , but in the actual world .

      M . de Trelan , played by Berton somewhat stiffly but with sense and taste , is a young man of good family but moderate income . He and Caiiste have met once or twice , but after the first interview his manner has always been cold and reserved . The reason we learn as the comedy progresses . M . Roussel fixes on this young man as a husband for his daughter . At any rate , as he humorously expresses it , the yOung nobleman is one of the persons whom he wishes to exhibit to her , making them show off their paces in order that she may decide . Accustomed every day to see in the world all men , even the most stiff-necked , go down on their * knees before Mammon , he believes that there is no chance of a repulse . The thing never enters his head . He makes the first advances , in the tone of a Jupiter condescending to a piece of flesh and blood , and is shucked to find that his offers are treated with disdain . Here we have a fine touch , far superior to ordinary comedy . The young man , who has with difficulty suppressed his emotion , for he really loves Caiiste , retires after a firm refusal . The father calls him back .

      Incapable of doubting his own reputation , he is afraid that evil tongues have wagged against his daughter . With a pathetic movement , not too much insisted on , he asks , implores , demands an explanation . M . de Trelan , who has resolved to leave France for the East , endeavours to avoid gratuitously annoying the rich man , whom he refuses for his father-in-law ; but he is compelled at length to say that he disputes the origin of the wealth offered to him , and particularly specifies a case in which his own family had suffered by the greedy unscrupulousness of M . Houssel . At first the latter is indignant . He has always considered himself a perfect specimen of honesty and plain-dealing . At any rate , whenever called to question by the law , he has always been triumphant . What more would yOu have ? The virtue which Idealists , Don Quixotes , madmen like M . de Trelan require , would be a mere dupery . How could men ever grow rich unless they consented to descend from those aerial heights to scrape amidst the mud , where the first pennies of . most great fortunes are found ? Rigid honesty is , indeed , an unsocial quality ; for as society must not consist of units comconscience

      fortably living side by side , owing nothing , even in their own , one to the other , but must have a hierarchical organisation—must contain leviathans as well as minnows—he' who objects to the means by which this beautiful result is brought about , does well to imitate the example of M . de Trelan , and start off , with his hatbox and valise , to Persia , or further if necessary . M . Roussel does not develop his theories in the presence of the would-be traveller , but jerks them out in a series of disconnected phrases after he is left alone . The scene is well managed , because w * are allowed to perceive that the blustering of the angry Croesus is not quite sincere . Already small twinges of compunction are tormenting him ; but at first they only spur him to abjure his exaggerated respect for honour and integrity in a son-in-law , and to be satisfied with / much less heroic qualities . M . Balardier , a stockbroker , young , and tolerably agreeable , is invited to occupy a place at the dinner-table intended for M .. de Trelan . Caiiste , of course , does not approve of the substitution . She learns that her lover has refused her hand , and this circumstance , which she attributes entirely to his disinterestedness , completes the conquest of her heart .

      The remainder of the comedy is employed in developing through many skilful scenes the way in Avhich M . Roussel , without absolutely losing his selfrespect , is brought to agree with M . de Trelan in condemning * he arts by which he has risen to wealth . The great redeeming feature in his character is _ a passionate attachment for his daughter . Her happiness he desires above all things , and he finds by degrees that her loveJbr De Trelan , if disappointed , will make her miserable . In this case , of what use is his wealth to him ? ^ Ie begins to loathe it . Bags of money brought to him in payment of the rent of his numerous houses he receives with anger and despair . He scatters them furiously about the floor in a comic scene , which is made to lead by a most masterly contrivance to a very pathetic one . Caiiste happens to come in and meet a pedantic , extravagant music-master , named Landara , represented with great power by Lesueub , who has ventured to aspire to the hand of his pupil . Unintentionally , she wounds the feelings of this genius , and in order to pacify

      him , makes him a present of a purs e supposed to be embroidered by her own hands , and requests -him to assist her in picking up the scattered five-franc pieces . He goes down on his knees for the purpose , and suddenly exclaims : " Well ! as I am in this position , I may as well take advantage of it . " So he makes a declaration which is received with amazement ; he insists . The father c 6 mes'in t 0 the ^ rescue;—He undeceives- the unhappymusic-master ; . but , -not satisfied with that , he insults his Art . Landara bristles up and gives utterance in his anger to some of the reports current in the world as to the doubtful probity of M . Roussel in times past . For the first time Caiiste begins to understand the reason why her hand has been refused by an honourable man ; nnd the climax of her father ' s punishment consists in this , that he sees the struggles of her mind against the painful conviction that is forcing itself into it , and is

      ashamed to meet her glance . Such a scene as this could , of course , be only indicated by the writer , and it required two masterly artists , like Geoffro y and RosE-CHEur , to give it full eflect . All explanation , however , is delicately avoided , and the piece soon comes to a close by means of a contrivance which , as we have hinted , is passably clumsy . M . Roussel is ruined by over-speculation at the Bourse ; and M . de Trelan , who only objected to the dowry , which he might have got rid of more naturally , eagerly accepts the impoverished Caiiste . With the exception of this denouement , and one or two other trivial borrowings from the customs of the stage , we repeat , however , that M . Augier ' s piece is quite original , and does him infinite credit , both as a writer and a sceneconstructor . There is throughout an absence of exaggeration and an avoidance of elaborate effects , which are both pleasing and remarkable . G

      Untitled Article

      FROM THE LONDON GAZETTE . Tuesday , February 13 . BANKRUPTS . —Joseph Liley and Richard Rbeves Sox . Day ' s-court , Guttor-lano , warehousemen — Edward enjtamin Olaekson , Broad-street , manufacturer * !* agent —Benjamin Grut , Sambrook-court , Baslnghall-streot , merchant — Thomas Whitford Nichols , Battoraoa , candlo-manufaoturor—John and David Dickie , Portsoa , drapers — Robert Daniel , Victoria-wharf , Union-place , Pirnlico , Btono-morohant—Henry Gibson , lato of Grace * church-Btrcot , merchant — Samukl Kino- and Charles . Kino . Cowloy , Oxfordshire builders — William Close Gurrib , Moorgato-strect , merchant — Thomas Pollard and Arthur John Symonds . Guilford , builders—Jonathan Hanford Goddbr , Frederick Godjber and Julius Wallace Howbe , Eastwood ,, Nottinghamshire , drapers — Jambs Lba , Birmingham , buildor—James Ellib , Birmingham , fender manufacturer — John Carter , jun ., and Charles Garter , browors—Joseph and James wood , Bradford , Yorkshire , spinners — William Phest , York , painter—John Amdmrbon , Bradford ,- Yorkshire , grocer - Ralph Martindalb , Low Harrowgatc , Yorkshire , draper — Diiapeb Sctolibpe , HuddorBllold , woollen cloth manufacturer —? William and Thomas Addy , Leeds , dotl

      manufacturers—Henry Ltjdlam and Joseph Rbanky , Sheffield , ironmongers - John Seymour Hart ^ Liverpool , tailor—Clifford Firth , Liverpool , broker—John Carver , Liverpool , licensed victualler . Friday , February 10 . BANKRUPTS . —Malcolm Inglis and Eyton Bond , Old Broad-street , merchants — William Groom , Budbury , Suffolk , innkeeper—Victor Banoh , Lilypot-lano , St . Martin's-lo-Grand , merchant—Geor&e Cooper House , Dovercourt , Essex , grocer—William Riddle , and Meed Terry Raymond , Shorbouruo-alley , City , merchants—William Morgan , Osborno-strcot , Wnltochapol , victualler—Thomas Collinowood Ker , Hans-placo , Chelsea , dealer in railway shares—Thomas William Horder , Minorios , chemist—James Emmins , Portland-road , Notting-hlU , buildor — Thomas Tyler , Wood-street , Cheapsido , warehouseman . '

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      Untitled Article

      BIRTHS , MARRIAGES , AND DEATHS . BIRTHS . BEAUFORT . —Fob . p , nfc Badminton , tho Duehoss of Beaufort i a son . FOLKESTONE . —Feb . 11 , tho Viscountess Folkostono : a i son .

      | HIRSOH . —Fob . 11 , at Cannstatt-on-tho-Ncckar , tho wife of Professor llirach : a daughter . , , „ , . ... SKIPWITH . —Feb . 8 , at 8 , Grosvonor-placo , Lady Skipwith : a daughter . MARRIAGES . BOUSFIELD — GAMBIER . — Feb . 0 , at tho church in Gordon-square , tho Rov . George Benjamin RioluHga BouaMeld , to Georgiana Mary Floycr Gainbior , third daughter of Rear-Admiral Gambler of Albany-toirace , Regent ' s-park , and of Suarnbrook , ^ edford ^ hii o . BATOHELOR-TRELAWNY .-Fob . 0 , at < MatpokO «»• oh . Cornwall , tho Rov . ¥ . ' £ . ^^ Y ' Jr ° \ Vi \ S ! m x ivolawnv Charlotto , youngest daughter of fair W r *! P " wall y > Bart ., Lord Lioutouant or tho county ol Cornwall . DEATHS . BRUHL .-Fob . 0 , at Chlngford , Easox , George , Count do BlWWNrVig ^ rMariborough-buildings . Bath . Llout - Coloiiel tho lion . John Browne , brother to the iateand uncm " to the present Lord KUmWifo . aged , eJfbfcy-llvo . DOUGLAS . —Fob . 7 , at Limerick , Anno , wife of Colonel DouglasrAssiHtant-Adjutant-Goneral , eldest aon of General Sir Howard Douglas , Bart ., G . CB .

      Untitled Article

      ^ ebbuaby 17 , 1855 ] THE LEAD EH . 165

  • Citation
    • Leader (1850-1860), Feb. 17, 1855, page 165, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/l/issues/vm2-ncseproduct2078/page/21/