The English Stage. Filon Augustin

by a woman. The page throws himself on the courtier the moment he comes out in order to snatch from him the fateful paper, and the conclusion of the drama results from these two encounters. One might sum up Richelieu as a mixture of bad Hugo with worse Dumas!

      Money is by way of depicting English Society as it was in 1840. It recognised itself, or rather its enemies recognised it, in this caricature! Are we to believe that the gambling scene in the third act takes place in an aristocratic club? It is more in keeping with the back parlour of a public-house. A very well-known critic, who represents the ideas of a whole class and of a whole school, in alluding to the success which the piece met with in the first instance, and which it meets with still on every revival, declares that the spectators wished to show their appreciation of the “humour of a scholar.” I must confess that I can recognise neither the scholar nor the humour. On the contrary, what I see in it is a spurious sensibility and that moral obliquity to which I have referred. Alfred Evelyn, who has been enriched by the will of an eccentric cousin, and who now sees the world at his feet after having experienced its disdain, decides to share his fortune with an unknown girl who has sent £10 to his old nurse at a time when he himself was too poor to come to her aid. It is in this silly intention that he is throwing away his happiness, and that the plot finds its motive. He is engaged to a young girl whom he doesn’t love, and in order to get rid of her, this mirror of refinement, this Alcestes with all his fine scorn of average humanity, pretends to ruin himself at play in the presence of his destined father-in-law. The girl whom he loves has refused (in Act I.) to marry him, not because he is poor, but because, poor herself, she was afraid of being a drag on him in his career. But someone had entered during her explanation and she had not been able to finish her sentence. She finishes it in the last act, and it transpiring also that it was she who had really sent the £10, the two lovers fall into each other’s arms. That is really all there is in Money over and above the social satire, which to my thinking is terribly far-fetched, and that wonderful “humour” which I have been unable personally to discover.

      Bulwer was not the man to save the erring Drama. Stronger men than he might have tried in vain to do so. It was not to the men of letters, the scholars, that it was to owe its salvation. The democracy had to come to the use of reason and to educate itself. Instead of the artificial drama which was offered to them, they held out for a drama sprung from its own loins, born of its own passions, made after its own image, palpitating with its own life; literary it might become later, if it could. And to this end, in the words of Olivier Saint-Jean, “It was necessary that things should go worse still before they could go better.”

CHAPTER II

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