Trilbyana Part 2

"In the fascinating numbers of 'Trilby,' as they appeared in _Harper's Magazine_, I read with delight of one Joe Sibley, idle apprentice, king of Bohemia, _roi des truands_, always in debt, vain, witty, exquisite and original in art, eccentric in dress, genial, caressing, scrupulously clean, sympathetic, charming; an irresistible but unreliable friend, a jester of infinite humor, a man now perched upon a pinnacle of fame (and notoriety), a worshipper of himself; a white-haired, tall, slim, graceful person with pretty manners and an unimpeachable moral tone. My only regret was that too little was said about so charming a creation. I looked to see more of him in the published three volumes. But no! I found the addition of some thoughtful excursuses by Mr. du Maurier upon nudity, agnosticism, and other more hazardous subjects, which had, presumably, been judged too strong for the ice-watered, ice-creamed const.i.tution of the American Philistine; but I looked in vain for the delightful Joseph Sibley. In his place I find a yellow-haired Switzer, one Antony, son of a respectable burgher of Lausanne, who is now tall, stout, strikingly handsome and rather bald, but who in his youth had all the characteristics of the lost Joseph Sibley--his idleness, his debts, his humor, his art, his eccentricity, his charm. I rubbed my eye-gla.s.s.

_Je me suis demande pourquoi._"

Displeased with _The Speaker's_ comments on his connection with "Trilby," Mr. Whistler compelled that paper to print a letter from his solicitors, from which it appears that the revised MS. of the novel was sent to him to be pa.s.sed. And apropos of this, he remarks in a letter to the editor:--"I question if it be not without precedent that a writer ever before so abjectly regorged his spleen as to submit his Bowdlerized work to his victim for his approval."

In the Chicago _Tribune_ of Sunday, 2 Dec., 1894, were reprinted from _Harper's_ the pictures of, and pa.s.sages about, Joe Sibley which provoked Mr. Whistler's threatened libel-suit. The revised pa.s.sages, as they appear in the book, were also given.

"Trilby" Entertainments

OF ENTERTAINMENTS founded 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 Sat.u.r.day, February 9, for the benefit of that admirable inst.i.tution, the New York Kindergarten a.s.sociation. 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 ma.n.u.script copy of his song "Ben Bolt."

The volume fetched $100, making the net addition to the Kindergarten a.s.sociation's treasury about $2500.

AT MR. MANSFIELD'S Garrick 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 princ.i.p.al figure; and mesmerism is carried to a ridiculous excess, even inanimate objects succ.u.mbing to its influence.

There is a farce within this farce; for "Mme. Sans-Gene" is parodied in a sub-play introduced under the name of "Mme. Sans Ra-Gene." 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 Gene"

have both been travestied.

(_Harper's Weekly_)

"THE _Weekly_ has 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 partic.i.p.ants 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 Ident.i.ty 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:--

'A little warmth, a little light Of love's bestowing--and so, good-night.'

"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 to _The Argonaut_, a very interesting program was presented, including Schubert's "Rosamonde,"

Adam's "Cantique de Noel," Chopin's Impromptu in A flat, "Bonjour Suzon," "Le Capitaine Roquefinette" and the much-discussed "Ben Bolt."

"TRILBY" REPRESENTATIONS have broken out in all sorts of strange places.

At the Eden Musee, 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.

Miscellanea

MR. DU MAURIER and 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 ill.u.s.trations, 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 ill.u.s.trations for reproduction on lecture-platforms and in drawing-rooms, and in translating and publishing Nodier's tale, from which the author took his t.i.tle! 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 THE Mercantile 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 to _The Critic_ from 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 POINT of the morality or immorality of the book, _The Independent_ says:--

"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, a _blanchisseuse 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 Francisco _Argonaut_ does not agree with its New York contemporary:--

"With those who think these pa.s.sages 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 n.o.ble, 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 IN March, 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 cla.s.s of art with 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'S heroine 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 MAURIER has 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 ba.n.a.lity, 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 ill.u.s.trated, and printed on much better paper than they deserve.