“Just as he united in himself capabilities of many kinds, so he displayed in his person the perfection of many races. From the negro he had derived the frizzled hair and those thick lips on which Europe had laid a delicate smile of ever-varying meaning; from the southern races he derived his vivacity of gesture and speech, from the northern his solid frame and broad shoulders and a figure which, while it showed no lack of French elegance, was powerful enough to have made green with envy the gentlemen of the Russian Life-Guards.”
Dumas’ energy and output were tremendous, as all know. It is recorded that on one occasion, – in the later years of his life, when, as was but natural, he had tired somewhat, – after a day at la chasse, he withdrew to a cottage near by to rest until the others should rejoin him, after having finished their sport. This they did within a reasonably short time, – whether one hour or two is not stated with definiteness, – when they found him sitting before the fire “twirling his thumbs.” On being interrogated, he replied that he had not been sitting there long; in fact, he had just written the first act of a new play.
The French journal, La Revue, tells the following incident, which sounds new. Some years before his death, Dumas had written a somewhat quaint letter to Napoleon III., apropos of a play which had been condemned by the French censor. In this epistle he commenced:
“Sire: – In 1830, and, indeed, even to-day, there are three men at the head of French literature. These three men are Victor Hugo, Lamartine, and myself. Although I am the least of the three, the five continents have made me the most popular, probably because the one was a thinker, the other a dreamer, while I am merely a writer of commonplace tales.”
This letter goes on to plead the cause of his play, and from this circumstance the censorship was afterward removed.
A story is told of an incident which occurred at a rehearsal of “Les Trois Mousquetaires” at the “Ambigu.” This story is strangely reminiscent of another incident which happened at a rehearsal of Halévy’s “Guido et Génevra,” but it is still worth recounting here, if only to emphasize the indomitable energy and perspicacity of Dumas.
It appears that a pompier– that gaudy, glistening fireman who is always present at functions of all sorts on the continent of Europe – who was watching the rehearsal, was observed by Dumas to suddenly leave his point of vantage and retire. Dumas followed him and inquired his reason for withdrawing. “What made you go away?” Dumas asked of him. “Because that last act did not interest me so much as the others,” was the answer. Whereupon Dumas sent for the prompt-book and threw that portion relating to that particular tableau into the fire, and forthwith set about to rewrite it on the spot. “It does not amuse the pompier,” said Dumas, “but I know what it wants.” An hour and a half later, at the finish of the rehearsal, the actors were given their new words for the seventh tableau.
In spite of the varied success with which his plays met, Dumas was, we may say, first of all a dramatist, if construction of plot and the moving about of dashing and splendid figures counts for anything; and it most assuredly does.
This very same qualification is what makes the romances so vivid and thrilling; and they do not falter either in accessory or fact.
The cloaks of his swashbucklering heroes are always the correct shade of scarlet; their rapiers, their swords, or their pistols are always rightly tuned, and their entrances and their exits correctly and most appropriately timed.
When his characters represent the poverty of a tatterdemalion, they do it with a sincerity that is inimitable, and the lusty throatings of a D’Artagnan are never a hollow mockery of something they are not.
Dumas drew his characters of the stage and his personages of the romances with the brilliance and assurance of a Velasquez, rather than with the finesse of a Praxiteles, and for that reason they live and introduce themselves as cosmopolitans, and are to be appreciated only as one studies or acquires something of the spirit from which they have been evolved.
Of Dumas’ own uproarious good nature many have written. Albert Vandam tells of a certain occasion when he went to call upon the novelist at St. Germain, – and he reckoned Dumas the most lovable and genial among all of his host of acquaintances in the great world of Paris, – that he overheard, as he was entering the study, “a loud burst of laughter.” “I had sooner wait until monsieur’s visitors are gone,” said he. “Monsieur has no visitors,” said the servant. “Monsieur often laughs like that at his work.”
Dumas as a man of affairs or as a politician was not the success that he was in the world of letters. His activities were great, and his enthusiasm for any turn of affairs with which he allied himself remarkable; but, whether he was en voyage on a whilom political mission, at work as “Director of Excavations” at Pompeii, or founding or conducting a new journal or a new playhouse, his talents were manifestly at a discount. In other words, he was singularly unfit for public life; he was not an organizer, nor had he executive ability, though he had not a little of the skill of prophecy and foresight as to many turns of fortune’s wheel with respect to world power and the comity of nations.
Commenting upon the political state of Europe, he said: “Geographically, Prussia has the form of a serpent, and, like it, she appears to be asleep, in order to gain strength to swallow everything around her.” All of his prophecy was not fulfilled, to be sure, but a huge slice was fed into her maw from out of the body of France, and, looking at things at a time fifty years ahead of that of which Dumas wrote, – that is, before the Franco-Prussian War, – it would seem as though the serpent’s appetite was still unsatisfied.
In 1847, when Dumas took upon himself to wish for a seat in the government, he besought the support of the constituency of the borough in which he had lived – St. Germain. But St. Germain denied it him – “on moral grounds.” In the following year, when Louis-Philippe had abdicated, he made the attempt once again.
The republican constituency of Joigny challenged him with respect to his title of Marquis de la Pailleterie, and his having been a secretary in the Orleans Bureau. The following is his reply – verbatim – as publicly delivered at a meeting of electors, and is given here as illustrating well the earnestness and devotion to a code which many Puritan and prudish moralists have themselves often ignored:
“I was formerly called the Marquis de la Pailleterie, no doubt. It was my father’s name, and one of which I was very proud, being then unable to claim a glorious one of my own make. But at present, when I am somebody, I call myself Alexandre Dumas, and nothing more; and every one knows me, yourselves among the rest – you, you absolute nobodies, who have come here merely to boast, to-morrow, after having given me insult to-night, that you have known the great Dumas. If such were your avowed ambition, you could have satisfied it without having failed in the common courtesies of gentlemen. There is no doubt, either, about my having been a secretary to the Duc d’Orleans, and that I have received many favours from his family. If you are ignorant of the meaning of the phrase, ‘The memories of the heart,’ allow me, at least, to proclaim loudly that I am not, and that I entertain toward