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Blackwood's Edinburgh Magazine – Volume 53, No. 331, May, 1843
Blackwood's Edinburgh Magazine — Volume 53, No. 331, May, 1843
DUMAS IN ITALY
[Souvenirs de Voyage en Italie, par ALEXANDRE DUMAS. 5 vols. duod.]
France has lately sent forth her poets in great force, to travel, and to write travels. Delamartine, Victor Hugo, Alexandre Dumas, and others, have been forth in the high-ways and the high-seas, observing, portraying, poetizing, romancing. The last-mentioned of these, M. Dumas, a dramatist very ingenious in the construction of plots, and one who tells a story admirably, has travelled quite in character. There is a dramatic air thrown over all his proceedings, things happen as pat as if they had been rehearsed, and he blends the novelist and tourist together after a very bold and original fashion. It is a new method of writing travels that he has hit upon, and we recommend it to the notice of our countrymen or countrywomen, who start from home with the fixed idea, happen what may, of inditing a book. He does not depend altogether upon the incidents of the road, or the raptures of sight-seeing, or any odd fantasy that buildings or scenery may be kind enough to suggest: he provides himself with full half of his materials before he starts, in the shape of historical anecdote and romantic story, which he distributes as he goes along. A better plan for an amusing book could not be devised. Your mere tourist, it must be confessed, however frivolous he submits for our entertainment to become, grows heavy on our hands; that rapid and incessant change of scene which is kindly meant to enliven our spirits, becomes itself wearisome, and we long for some resting-place, even though it should be obtained by that most illegitimate method of closing the volume. On the other hand, a teller of tales has always felt the want of some enduring thread—though, as some one says in a like emergency, it be only packthread—on which his tales may be strung—something to fill up the pauses, and prevent the utter solution of continuity between tale and tale—something that gives the narrator a reasonable plea for going on again, and makes the telling another story an indispensable duty upon his part, and the listening to it a corresponding obligation upon ours; and ever since the time when that young lady of unpronounceable and unrememberable name told the One Thousand and One Tales, telling a fragment every morning to keep her head upon her shoulders, there has been devised many a strange expedient for this purpose. Now, M. Dumas has contrived, by uniting the two characters of tourist and novelist, to make them act as reliefs to each other. Whilst he shares with other travellers the daily adventures of the road—the journey, the sight, and the dinner—he is not compelled to be always moving; he can pause when he pleases, and, like the fableur of olden times, sitting down in the market-place, in the public square, at the corner of some column or statue, he narrates his history or his romance. Then, the story told, up starts the busy and provident tourist; lo! the voiture is waiting for him at the hotel; in he leaps, and we with him, and off we rattle through other scenes, and to other cities. He has a track in space to which he is bound; we recognize the necessity that he should proceed thereon; but he can diverge at pleasure through all time, bear us off into what age he pleases, make us utterly oblivious of the present, and lap us in the Elysium of a good story.
With a book written palpably for the sole and most amiable purpose of amusement, and succeeding in this purpose, how should we deal? How but receive it with a passive acquiescence equally amiable, content solely to be amused, and giving all severer criticism—to him who to his other merits may add, if he pleases, that of being the first critic. Most especially let us not be carping and questioning as to the how far, or what precisely, we are to set down for true. It is all true—it is all fiction; the artist cannot choose but see things in an artistical form; what ought not to be there drops from his field of vision. We are not poring through a microscope, or through a telescope, to discover new truths; we are looking at the old landscape through coloured glasses, blue, or black, or roseate, as the occasion may require. And here let us note a favourable contrast between our dramatic tourist, bold in conception, free in execution, and those compatriots of our own, authors and authoresses, who write travels merely because they are artists in ink, yet without any adequate notion of the duties and privileges of such an artist.
When a writer has got a name, the first rational use to make of the charming possession is to get astride of it, as a witch upon her broomstick, and whisk and scamper over half the kingdoms of the earth. Talk of bills of exchange!--letters of credit!--we can put our name to a whole book, and it will pass—it will pass. The idea is good—quite worthy of our commercial genius—and to us its origin, we believe, is due; but here, as in so many other cases, the Frenchman has given the idea its full development. Keeping steadily in view the object of his book, which is—first, amusement—secondly, amusement—thirdly, amusement; he adapts his means consistently to his end. Does he want a dialogue?—he writes one: a story?—he invents one: a description?—he takes his hint from nature, and is grateful—the more grateful, because he knows that a hint to the wise is sufficient. It is the description only which the reader will be concerned with; what has he to do with the object? That is the merely traveller's affair. Now, your English tourists have always a residue of scruple about them which balks their genius. Not satisfied with pleasing, they aspire to be believed; are almost angry if their anecdote is not credited; content themselves with adding graces, giving a turn, trimming and decorating—cannot build a structure boldly from the bare earth. This necessity of finding a certain straw for their bricks, which must be picked up by the roadside, not only impedes the work of authorship, but must add greatly to their personal discomfort throughout the whole of their travels. They are in perpetual chase of something for the book. They bag an incident with as much glee as a sportsman his first bird in September. They are out on pleasure, but manifestly they have their task too; it is not quite holiday, only half-holiday with them. The prospect or the picture gives no pleasure till it has suggested the appropriate expression of enthusiasm, which, once safely deposited in the note-book, the enthusiasm itself can be quietly indulged in, or permitted to evaporate. At the dinner-table, even when champagne is circulating, if a jest or a story falls flat, they see with an Aristotelian precision the cause of its failure, and how an additional touch, or a more auspicious moment, would have procured for it a better fate; they stop to pick it up, they clean it, they revolve the chapter and the page to which it shall lend its lustre. Nay, it is noticeable, that without much labour from the polisher, many a dull thing in conversation has made a good thing in print; the conditions of success are so different. Now, from all such toils and perplexities M. Dumas is evidently free; free as the wildest Oxonian who flies abroad in the mere wanton prodigality of spirits and of purse. His book is made, or can be made, when he chooses: fortune favours the bold, and incidents will always dispose themselves dramatically to the dramatist.
Our traveller opens his campaign at Nice. It may be observed that M. Dumas cannot be accused, like the present minister of his country, of any partiality to the English; if the mortifying truth must be told, he has no love of us at all; to which humour, so long as he delivers himself of it with any wit or pleasantry, he is heartily welcome. Our first extract will be thought, perhaps, to taste of this humour; but we quote it for the absurd proof it affords of the manner in which we English have overflooded some portions of the Continent:—
"As to the inhabitants of Nice, every traveller is to them an Englishman. Every foreigner they see, without distinction of complexion, hair, beard, dress, age, or sex, has, in their imagination, arrived from a certain mysterious city lost in the midst of fogs, where the inhabitants have heard of the sun only from tradition, where the orange and the pine-apple are unknown except by name, where there is no ripe fruit but baked apples, and which is called London.
"Whilst I was at the York Hotel, a carriage drawn by post horses drove up; and, soon after, the master of the hotel entering into my room, I asked him who were his new arrivals.
"'Sono certi Inglesi,' he answered, 'ma non saprei dire se sono Francesi o Tedeschi. Some English, but I cannot say whether French or German.'"—Vol. i. p. 9.
The little town of Monaco is his next resting-place. This town, which is now under the government of the King of Sardinia, was at one time an independent principality; and M. Dumas gives a lively sketch of the vicissitudes which the little state has undergone, mimicking, as it has, the movements of great monarchies, and being capable of boasting even of its revolution and its republic. During the reign of Louis XIV. the territory of Monaco gave the title of prince to a certain Honore III., who was under the protection of the Grand Monarque.
"The marriage of this Prince of Monaco," says our annalist, "was not happy. One fine morning his spouse, who was the same beautiful and gay Duchess de Valentinois so well known in the scandalous chronicles of that age, found herself at one step out of the states of her lord and sovereign. She took refuge at Paris. Desertion was not all. The prince soon learned that he was as unfortunate as a husband can be.
"At that epoch, calamities of this description were only laughed at; but the Prince of Monaco was, as the duchess used to say, a strange man, and he took offence. He got information from time to time of the successive gallants whom his wife thought fit to honour, and he hanged them in effigy, one after the other, in the front court of his palace. The court was soon full, and the executions bordered on the high road; nevertheless, the prince relented not, but continued always to hang. The report of these executions reached Versailles; Louis XIV. was, in his turn, displeased, and counselled the prince to be more lenient in his punishments. He of Monaco answered that, being a sovereign prince, he had undoubtedly the right of pit and gallows on his own domain, and that surely he might hang as many men of straw as he pleased.
"The affair bred so much scandal, that it was thought prudent to send the duchess back to her husband. He, to make her punishment the more complete, had resolved that she should, on her return, pass before this row of executed effigies. But the dowager Princess of Monaco prevailed upon her son to forego this ingenious revenge, and a bonfire was made of all the scarecrows. 'It was,' said Madame de Sevigné, 'the torch of their second nuptials.' ...
"A successor of this prince, Honore IV., was reigning tranquilly in his little dominions when the French Revolution broke out. The Monacites watched its successive phases with a peculiar attention, and when the republic was finally proclaimed at Paris, they took advantage of Honore's absence, who was gone from home, and not known where, armed themselves with whatever came to hand, marched to the palace, took it by assault, and commenced plundering the cellars, which might contain from twelve to fifteen thousand bottles of wine. Two hours after, the eight thousand subjects of the Prince of Monaco were drunk.
"Now, at this first trial, they found liberty was an excellent thing, and they resolved to constitute themselves forthwith into a republic. But it seemed that Monaco was far too extensive a territory to proclaim itself, after the example of France, a republic one and indivisible; so the wise men of the country, who had already formed themselves into a national assembly, came to the conclusion that Monaco should rather follow the example of America, and give birth to a federal republic. The fundamental laws of the new constitution were then discussed and determined by Monaco and Mantone, who united themselves for life and death. There was a third village called Rocco-Bruno: it was decided that it should belong half to the one and half to the other. Rocco-Bruno murmured: it had aspired to independence, and a place in the federation; but Monaco and Mantone smiled at so arrogant a pretension. Rocco-Bruno was not the strongest, and was reduced to silence: from that moment, however, Rocco-Bruno was marked out to the two national conventions as a focus of sedition. The republic was finally proclaimed under the title of the Republic of Monaco.
"The Monacites next looked abroad upon the world for allies. There were two nations, equally enlightened with themselves, to whom they could extend the hand of fellowship—the American and the French. Geographical position decided in favour of the latter. The republic of Monaco sent three deputies to the National Convention of France to proffer and demand alliance. The National Convention was in a moment of perfect good-humour: it received the deputies most politely, and invited them to call the next morning for the treaty they desired.
"The treaty was prepared that very day. It was not, indeed, a very lengthy document: it consisted of the two following articles:—
"'Art. 1. There shall be peace and alliance between the French Republic and the Republic of Monaco.
"'Art. 2. The French Republic is delighted with having made the acquaintance of the Republic of Monaco.'
"This treaty was placed next morning in the hands of the ambassadors, who departed highly gratified. Three months afterwards the French Republic had thrown its lion's paw on its dear acquaintance, the Republic of Monaco."—P. 14.