The Project Gutenberg EBook of Juliette Drouet's Love-Letters to Victor Hugo, by Louis Guimbaud and Juliette Drouet This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org/license Title: Juliette Drouet's Love-Letters to Victor Hugo Edited with a Biography of Juliette Drouet Author: Louis Guimbaud Juliette Drouet Translator: Lady Theodora Davidson Release Date: October 25, 2013 [EBook #44034] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK JULIETTE DROUET'S LETTERS *** Produced by StevenGibbs, Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net bookcover JULIETTE DROUET’S LOVE-LETTERS TO VICTOR HUGO THE NEW FRANCE, Being a History from the accession of Louis Philippe in 1830 to the Revolution of 1848, with Appendices By Alexandre Dumas. Translated into English, with an introduction and notes by R. S. Garnett. In two volumes, Demy 8vo, cloth gilt, profusely illustrated with a rare portrait of Dumas and other pictures after famous artists. 24/-net. The map of Europe is about to be altered. Before long we shall be engaged in the marking out. This we can hardly follow with success unless we possess an intelligent knowledge of the history of our Allies. It is a curious fact that the present generation is always ignorant of the history of that which preceded it. Everyone or nearly everyone has read a history—Carlyle’s or some other—of the French Revolution of 1789 to 1800; very few seem versed in what followed and culminated in the revolution of 1848, which was the continuation of the first. Both revolutions resulted from an idea—the idea of the people. In 1789 the people destroyed servitude, ignorance, privilege, monarchical despotism; in 1848 they thrust aside representation by the few and a Monarchy which served its own interests to the prejudice of the country. It is impossible to understand the French Republic of to-day unless the struggle in 1848 be studied: for every profound revolution is an evolution. A man of genius, the author of the most essentially French book, both in its subject and treatment, that exists (its name is The Three Musketeers) took part in this second revolution, and having taken part in it, he wrote its history. Only instead of calling his book what it was—a history of France for eighteen years— that is to say from the accession of Louis Philippe in 1830 to his abdication in 1848—he called it The Last King of the French. An unfortunate title, truly, for while the book was yet a new one the “last King” was succeeded by a man who, having been elected President, made himself Emperor. It will easily be understood that a book with such a title by a republican was not likely to be approved by the severe censorship of the Second Empire. And, in fact, no new edition of the book has appeared for sixty years, although its republican author was Alexandre Dumas. During the present war the Germans have twice marched over his grave at Villers Cotterets, near Soissons, where he sleeps with his brave father General Alexandre Dumas. The first march was en route for Paris; the second was before the pursuit of our own and the French armies, and while these events were taking place the first translation of his long neglected book was being printed in London. Habent sua fata tibelli. Written when the fame of its brilliant author was at its height, this book will be found eminently characteristic of him. Although a history composed with scrupulous fidelity to facts, it is as amusing as a romance. Wittily written, and abounding in life and colour, the long narrative takes the reader into the battlefield, the Court and the Hôtel de Ville with equal success. Dumas, who in his early days occupied a desk in the prince’s bureaux, but who resigned it when the Duc d’Orleans became King of the French, relates much which it is curious to read at the present time. To his text, as originally published, are added as Appendices some papers from his pen relating to the history of the time, which are unknown in England. Victor Hugo and Juliette Drouet JULIETTE DROUET’S LOVE-LETTERS TO VICTOR HUGO EDITED WITH A BIOGRAPHY OF JULIETTE DROUET BY LOUIS GUIMBAUD TRANSLATED BY LADY THEODORA DAVIDSON WITH A PHOTOGRAVURE FRONTISPIECE AND 36 ILLUSTRATIONS IN HALF-TONE LONDON S T A N L E Y P A U L & C O 31 ESSEX STREET, STRAND, W.C. First published in 1915 FOREWORD A POET, a great poet, loves a princess of the theatre. He is jealous. He forces her to abandon the stage and the green-room, to relinquish the hollow flattery of society and the town; he cloisters her with one servant, two or three of his portraits, and as many books, in an apartment a few yards square. When she complains of having nothing to do but wait for him, he replies: “Write to me. Write me everything that comes into your head, everything that causes your heart to beat.” Such is the origin of the letters of Juliette Drouet to Victor Hugo. They are not ordinary missives confided to the post and intended to assure a lover of the tender feelings of his mistress: they are notes, mere “scribbles,” as Juliette herself calls them, thrown upon paper hour by hour, cast into a corner without being read over, and secured by the lover at each of his visits, as so many trophies of passion. When Juliette Drouet’s executor, M. Louis Kock, died in Paris on May 26th, 1912, he had in his possession about twenty thousand. He had added to them the letters of James Pradier to our heroine, those of Juliette to her daughter, Claire Pradier, and the answers of Claire Pradier to her mother. This collection of documents passed into the hands of a Parisian publisher, Monsieur A. Blaizot, who has been so good as to allow us to examine them and compile from them a volume concerning Victor Hugo and his friend. At first sight the task presented grave difficulties—nay, it seemed almost impossible of execution. To begin with, it would have been futile to think of publishing the whole of the twenty thousand letters; in the second place, it might appear a work of supererogation to reconstruct from them in detail the story of a liaison well known to have been uneventful, almost monotonous, and more suggestive of a litany or the beads of a rosary than of tragedy or a novel. We have attempted to surmount these objections in the following manner: In the first portion we present the biography of Juliette Drouet in the form of a series of synthetic tableaux, each tableau summarising several lustres of her life. We thus avoid the long-drawn-out narrative, year by year, of an existence devoid of incident or adventure. In the second, we publish those letters which strike us as peculiarly eloquent, witty, or lyrical. In the light shed upon them by the preliminary biography, they form, as one might say, its justification and natural sequel. At the outset of her liaison with the poet Juliette does not date her “scribbles”; she merely notes the time of day and the day of the week, until about 1840; we have therefore been obliged to content ourselves with the classification effected by her in the collection of her manuscripts, and preserved by her executor. From 1840 she dated every sheet. Consequently our work simultaneously achieves more precision and certainty. When its difficulties have seemed insuperable, we have derived valuable encouragement from the sympathy of the literary students and friends who had urged us to undertake it, or were assisting us in its execution. We have pleasure in recording our thanks to the following: MM. Louis Barthou, Beuve, A. Blaizot, François Camailhac, Eugène Planès, Escolier, etc. b We have often wondered what the charming woman whose ideals, tastes, and habits have, by degrees, become almost as familiar to us as her handwriting, would have thought of our efforts. As far as she herself is concerned there can be but little doubt. She would have made fun of the undertaking. By dint of moving in the society of men of high literary attainments she had acquired a very modest estimate of her own wit and talent. In 1877, when the architect Roblin one day discovered her sorting out her “scribbles,” he thought she was attempting to write a book and gravely asked her “when it was to be published.” “What an idea!” she cried, and burst out laughing. Such was not the opinion of Victor Hugo, however. That perfect artist attached the utmost importance to the writings of his friend. Each time she wished to destroy them he commanded her to preserve them. Whenever she proposed to bring them to a close, he insisted upon her continuing. We possess an unpublished letter from the poet in which he exclaims: “Your letters, my Juliette, constitute my treasure, my casket of jewels, my riches! In them our joint lives are recorded day by day, thought by thought. All that you dreamed lies there, all that you suffered. They are charming mirrors, each one of which reflects a fresh aspect of your lovely soul.” Surely such a phrase conveys approbation and sanction sufficient for both Juliette Drouet and her humble biographer. CONTENTS PART I BIOGRAPHICAL CHAPTER I PAGE Julienne Gauvain 1 CHAPTER II Princesse Négroni 14 CHAPTER III “La Tristesse D’Olympio” 33 CHAPTER IV The Shackles of Love 45 CHAPTER V Claire Pradier 69 CHAPTER VI “On an Island” 84 CHAPTER VII “That which brings Satisfaction to the Heart” 104 PART II LETTERS 115 APPENDIX I. List of those of Victor Hugo’s Poems which were inspired by Juliette Drouet 311 II. Books concerning Juliette Drouet 314 III. Works of Art representing Juliette Drouet 314 INDEX 317 LIST OF ILLUSTRATIONS Victor Hugo and Juliette Drouet Photogravure Frontispiece FACING PAGE The Château of Fougères in 1831 1 Claire Pradier as a Child 8 Victor Hugo as a Young Man 16 Juliette Drouet in the Rôle of La Princesse Négroni 24 Juliette Drouet in the Rôle of La Princesse Négroni 32 House in the Village of Les Metz, in the Parish of Jouy-en-Josas, Seine-et- Oise 32 Church of Bièvres, Seine-et-Oise 40 Victor Hugo about 1836 48 “Le Citoyen Victor Hugo jouant au Congrès de la Paix” 64 Claire Pradier at Fifteen 72 Claire Pradier on her Deathbed 80 Juliette Drouet in Jersey 88 Victor Hugo in Jersey 96 Victor Hugo, his Family, and Juliette Drouet at Hauteville House 104 Juliette Drouet in 1883 112 Claire Pradier 120 Juliette Drouet about 1830 128 A Page of Juliette Drouet’s Note-book in 1834 136 Autograph Letter from Juliette Drouet to her daughter Claire 144 Victor Hugo 160 Caricature of Mlle. George, by Victor Hugo 176 Portrait of Victor Hugo by Himself 176 Autograph and Drawing by Juliette Drouet 192 The Bridge of Marne 208 A Dedication by Victor Hugo to Juliette Drouet 224 Juliette Drouet in 1846 232 Victor Hugo, Républicain 240 Drawing by Victor Hugo, signed “Toto” 256 The Flower and the Butterfly 256 Juliette Drouet’s Hand 272 Victor Hugo, by Rodin 288 Juliette Drouet about 1877 296 The Deathbed of Victor Hugo 304 A Dedication by Victor Hugo to Juliette Drouet 304 Book-plate designed for Juliette Drouet by Victor Hugo 312 THE CHÂTEAU OF FOUGÈRES IN 1836. Unpublished drawing by Victor Hugo. JULIETTE DROUET’S LOVE-LETTERS TO VICTOR HUGO PART I BIOGRAPHICAL CHAPTER I JULIENNE GAUVAIN AN irregular outline, sombre colouring, a tangle of towers, steeples, high gables and ramparts, steep passages built in the form of steps: such was the town of Fougères at the beginning of the nineteenth century. The principal features of its surroundings were a turbulent river waging unceasing conflict with numerous mills, uncultivated wastes, more footpaths than lanes, and more lanes than high-roads. This former hot-bed of chouans was an appropriate birthplace for a heroine of romance—and there, on April 10th, 1806, was born Julienne Joséphine Gauvain, subsequently known as Mademoiselle Juliette, and later still, as Madame Drouet.[1] Her father was a humble tailor living in a suburb of the town, on the road between Fougères and Autrain; her mother kept the little home. Madame Drouet was somewhat proud of her humble origin; she wrote: “I am of the people,” as others might boast “I am well born”; she wished thereby to explain and excuse her taste for independence, her fiery temper, and her impulsive nature. She might equally have attributed these to the neglect she suffered in early infancy. For she had no parents to guard or train her. Her mother died on December 15th, 1806, before the infant could lisp her first words. On September 12th in the following year the father dragged himself to the public infirmary at Fougères, and there breathed his last. The infirmary took over the charge of the orphan, and was about to place her with the foundlings—indeed, the necessary formalities had already been complied with—when a protector suddenly came forward, a certain worthy uncle. His name was René Henri Drouet. He was thirty-two years old, a sub-lieutenant of artillery, had seen active service in eight campaigns under Napoleon, and been wounded in the foot by the blow of an axe. The wound was such that some very quiet employment had to be provided for him. The ex-artilleryman was turned into a coast-guard, and dawdled out a bored existence in the little Breton port where fate confined him henceforth. He claimed Julienne, and she was handed over to his care. It would be foolish to pretend that this retired warrior was a suitable person to undertake the training of a little girl. He understood only how to spoil and caress her. Never did child enjoy a wilder, more vagabond childhood. Julienne never got to the village school, because on the way thither glimmered a large pond bordered by clumps of bushes. Among the latter she would conceal her shoes and stockings, and, wading into the water, blue as the skies above, gather starry water-lilies. When she came out, more often than not she failed to find the hiding-place, and ran home bare-footed, with hair floating in the wind and a frock torn to ribbons. But she only laughed, and was forgiven because she made such a winsome picture in her tatters and her wreath of flowers. Those were halcyon days—days filled with innocent joys and elemental sorrows: a fruit-tree robbed of its burden under the indulgent eye of the old coastguard in his green uniform, the death of a tame linnet. All her life Julienne’s memory would dwell pleasurably on those early delights. Nothing could curb her natural wildness, not even the gate of a cloister or the rule of St. Benedict. Among René Henri Drouet’s female relations he counted a sister and a cousin, nuns in a great Parisian convent, the Bernardines- Bénédictines of Perpetual Adoration. Their house was situated in the Rue du Petit-Picpus. When Julienne was ten years old he easily managed to have her admitted to the school attached to the convent, and thenceforth the orphan’s path in life seemed settled: she should first become a distinguished pupil, then a pious novice, and lastly a holy nun. But, as events turned out, Julienne was only to carry out the first part of the programme. From the description left us by Madame Drouet and transcribed in full by, Victor Hugo in Les Misérables, the house in the Petit-Picpus was none too cheerful; its first welcome to the child was more sombre than any drama she was to figure in, later, as an actress. Padlocked gates, dark corridors, bare rooms, a chapel where the priest himself was concealed behind a veil—such was the scene; black phantoms with shrouded features played the parts; the action was composed of interminable prayers and stringent mortifications. The Bernardines-Bénédictines slept on straw and wore hair shirts, which produced chronic irritation and jerky spasms; they knew not the taste of meat or the warmth of a fire; they took turns in making reparation, and no excuse for shirking was permitted. Reparation consisted in prayers for all the sins and faults of omission and commission, all the crimes of the world. For twelve consecutive hours the petitioner had to kneel upon the stone steps in front of the Blessed Sacrament, with clasped hands and a rope round her neck; when the fatigue became unbearable, she prostrated herself on her face, with her arms outstretched in the form of a cross, and prayed more ardently than before for the sinners of the universe. Victor Hugo, who gathered these details from the lips of Madame Drouet, declared them sublime, while she who had personally witnessed their painful passion, retained a profound impression for life, coupled with a strong sense of Catholicism, and the gift of prayer. Outside of these austerities the pupils of the school conformed to nearly all the practices of the convent. Like the nuns, they only saw their parents in the parlour, and were not allowed to embrace them. In the refectory they ate in silence under the eye of the nun on duty, who from time to time, if so much as a fly flew without permission, would snap a wooden book noisily. This sound, and the reading of the Lives of the Saints, were the sole seasoning of the meal. If a rebellious pupil dared to dislike the food and leave it on her plate, she was condemned to kneel and make the sign of the cross on the stone floor with her tongue. Neither the licked cross nor the meagre fare ever succeeded in damping Julienne’s spirits. She preserved the beautiful spontaneity and love of fun of her early years. She was the spoilt child of the convent where her aunts, Mother des Anges and Mother Ste Mechtilde, appear to have wielded a kindly authority. She soon became its enfant terrible. Once, when she was about twelve years old, she threw herself into the arms of a nun and cried, devouring the outer walls with her eyes: “Mother, mother, one of the big girls has just told me I have only got nine years and ten months more to stay here: what luck!” And another time she dropped on the pavement of the cloister a confession written on a sheet of paper so that she might not forget its items: “Father, I accuse myself of being an adulteress. Father, I accuse myself of having stared at gentlemen.” One might well ask who were the gentlemen concerned, for in the convent of Petit-Picpus there were no male professors; only the most distinguished among the nuns assumed the duty of instructing the young boarders. Judging from the eloquence which will be found later in Madame Drouet’s letters, the Bernardines-Bénédictines must have accomplished their task with great thoroughness. Julienne learned from them, if not orthography and cultivated style, at least sincerity, and the point that, before attempting to write, one should have something to say. She also studied accomplishments. Mother Ste Mechtilde possessed a beautiful voice. She was consequently appointed mistress of ceremonies and of the choir, and used to train her niece and other pupils. Her habit was to take seven children and make them sing standing in a row according to their ages, so that they looked like a set of girlish organ-pipes. History does not relate whether Julienne sang better than the others, but a little later she began to nurse in secret the idea of utilising her gifts as a virtuoso. At Petit-Picpus she also learned to sketch and paint in water- colours. She owed this instruction to the favour of the pious nuns, who, as a special breach of their rule, authorised her to take lessons from a young master, Redouté. It may not be too bold to declare that Julienne imbibed at the convent those qualities of tact and restraint, and that air of distinction she exhibited later in the drawing-rooms of Victor Hugo. To the Convent of the Bernardines was attached a sort of house of retreat where aged ladies of rank could end their days, as also nuns of the various orders whose cloisters had been destroyed during the Revolution. Some of these preserved within their hearts a generous instinct of maternity, which Julienne easily managed to waken. She fell into the habit of running across to break the rule of everlasting silence in that fairly cheerful environment, and, in defiance of the prohibition against intimacy, she turned the old ladies into personal friends. She listened attentively, and remembered much, and forty years later she could describe correctly the names, appearance, and habits of that picturesque group, somewhat archaic, but invariably courteous and witty. Perhaps because of this slight lifting of the veil, Julienne began already, at the age of sixteen, to fix her eager gaze beyond the cloister and the gate. Perhaps also some instinct of dignity and self-respect urged her to learn something of the world before entering the novitiate to pronounce her vows. However this may be, it seems certain that, on the solemn occasion of her presentation to the Archbishop of Paris, Monsignor Quelen, as a postulant, she managed to convey that her vocation was of the frailest, and her desire for the world, deeply rooted. The prelate understood, and signified to the nuns that this particular lamb desired to wander. That very evening Julienne left the convent. Here follows a somewhat obscure interlude in the girl’s life. We meet her next among the pupils of the sculptor Pradier, in 1825. James Pradier: to those of our generation this name recalls merely a number of groups and statues: statues more graceful than chaste, groups more elegant than virile; the work of a master who aimed at rivalling Praxiteles, but only succeeded in treading in the footsteps of Clodion. Pradier, however, only needs a careful biographer to acquire another kind of celebrity: that of an artist, grand viveur, magnificent and vain, careless and weak, born too late to lead without scandal the frivolous life he loved, too early to acquire by industry the fortune needed for the indulgence of his tastes. Twice a week his studio was transformed into a drawing-room, and his receptions were attended by a most varied company: painters and poets, models, actresses, dames of high degree, politicians and men of the sword—all society, in short, liked to be seen in the Rue de l’Abbaye. Clad in high boots, cut low in front, in violet velvet trousers and a coat of the same material decorated with Polish brandebergs, flanked by a Scotch greyhound almost as big as himself, the master of the house received his visitors, listened to them, talked with them, without interrupting his work; he created fresh marvels with the chisel while the conversation flowed unrestrained, and thus his labours became simultaneously a gossip and a spectacle. In the novel excitement of surroundings so brilliant, so varied, and of morals so easy, Julienne committed the imprudence which was to settle the fate of her whole life. Thanks to her independent spirit, and still more to her beauty, she very soon established her position in Pradier’s house. She came there often, remained long, and consented to pose for him.[2] And when, one day, the sculptor desired for himself this flower, so superior in delicacy and aroma to those usually found in the studios, he had but to bend down and pluck it. CLAIRE PRADIER AS A CHILD. From an unpublished drawing by Pradier. He made Julienne his mistress in 1825. In 1826 she gave him a little daughter whom we shall meet again later. But now arose difficulties of a practical nature. James Pradier, ex-Prix de Rome, Chevalier de la Légion d’Honneur, Membre de l’Institut, Professeur de l’École des Beaux- Arts, could not with propriety, according to his ideas, marry a model. He does not dream of it for an instant, but, as he wishes to do the girl some kindness, however unsuitable, he manages to insinuate her into the theatrical world, and to put her on the boards. Having friends in Brussels, he decrees that she shall go thither to study and make her first appearance; and, as she needs guidance, advice, and protection, he writes her almost every day long letters, in which platitudes alternate with vulgarity. The correspondence continues, wordy and trivial, interminable and foolish, a repulsive mixture of boasting and preaching. Does Julienne show distaste for vaudeville, Pradier proclaims that form of acting to be the most charming in the world, and places it far above tragedy, which he pronounces tiresome and chilling. If Julienne complains that she has but one dress, Pradier tells her that only the leading lights of the stage possess more. If she ventures a timid request for money, he answers that he has none himself, and offers her a book of fairy-tales illustrated under his supervision. She had to keep herself alive somehow, and when the poor thing had pledged everything she possessed at the pawnbroker’s, she wrote plaintively: “This is the only money my talents have earned for me so far.” She might perhaps have been reduced to some desperate measure, had not chance placed her in the path of Félix Harel. Although an incorrigible Bonapartist, and consequently a conspirator by trade, Harel seems to have been above all a man of the theatre: in the midst of his political preoccupations, one can always discern his predilection for things pertaining to the stage. He also had a very definite conviction that politics and the drama, statesmen and ballet-dancers, have always been closely linked together. So, whether he was for the moment pamphleteer, financier, or prefect, whether he was holding an appointment, or in full flight, he always had a finger in some theatrical pie, either as a director, a manager, or a private adviser. At the time he first met Julienne, he was filling the latter capacity at the Théâtre Royal, in Brussels. He presented the young woman. Without further training than that which Pradier had directed from afar, we know that she made her first appearance in Brussels, at the beginning of the year 1829—to be exact, on February 17th. On that day she informs Pradier that her début has been successful, and that the Brussels press is favourable. He at once thanks Providence and decides that she can henceforth support herself by her talent. He writes: “Is not this a great pleasure to you? Does it not lift a weight from your heart, you who have such a noble soul? How sweet is the bread one has earned so honourably! For my part, I feel that all your faults are condoned by the trouble you are taking. Your perseverance will be rewarded, never doubt it. Go on working! Time can never hang heavy when one is labouring honestly; study carries more flowers than thorns.” Having spoken thus, the artist returned to his business and his pleasures, not without having exhorted Julienne to remain in Brussels as long as possible. He was not ignorant of the passionate desire of the young woman to see her babe once more, but he feared that, if she should not find an engagement in Paris like the one she enjoyed in Brussels, she would again be, morally at least, on his hands. Therefore, redoubling his cautious advice and his counsels of prudence, he implored her not to relinquish a certainty for an uncertainty. However, nothing deterred her. Julienne, as she used to say afterwards, would rather have trudged the distance that separated her from her child, on foot, than waited any longer. The events of 1829 spared her the trouble. Owing to certain evidences of internal discontent, the government of Charles X was developing liberal proclivities. Among other political exiles, it allowed Félix Harel to return, and with him his illustrious mistress, Mlle. Georges. Julienne shared their lot. She accompanied them, not only to Paris, but to the Theatre of the Porte St. Martin, which, under Harel’s influence, rapidly became the stronghold of romanticism, and on February 27th, 1830, she made her début on its boards in the part of Emma, in L’Homme du Monde, by Ancelot and Saintine. Then she migrated almost at once to the Odéon, of which Harel had just undertaken the management, without, however, resigning that of the Porte St. Martin. She played various parts there throughout the year 1831. We shall hear later on that she was beautiful, but for the present we must confine ourselves to the question of her talent and dramatic qualities. It has been hinted that she owed her success solely to her lovely face and graceful figure, and that she was one of those ephemeral favourites who reap popular applause in return for the exhibition of their charms. The truth seems to be that “la belle Juliette,” as she was already called, gave proofs of distinguished powers, although one is fain to admit that, at this distance of time, it is not easy to define her capacity with any exactitude. For one thing, it was never Juliette’s good fortune to play an important part which has since become a classic, and by which her true qualities could be gauged: in Harel’s troupe the first-class parts were already justly monopolised by Mlle. Georges and Madame Dorval. Also, nearly all the plays in which Juliette appeared are nowadays looked upon as antiquated and sometimes even absurd. In fact, it is difficult to conceive how they ever could have been given. It will be wiser, therefore, to rely mainly on Pradier’s letters to discover what were the natural gifts which could have inspired that artist to make of his mistress an actress, and even a tragedian. Pradier, then, considered Juliette well equipped by nature in respect of sentiment, intelligence, and voice production; but he criticised in her a certain timidity and lack of assurance, sufficient to mar her entrances and cover her exits with ridicule. He also thought fit to observe to her that, once she was on the scene, and had overcome her initial fright, she overacted her parts, and was not sufficiently natural; she forgot to address herself to the audience, and would speak into the wings, and neglect to vary her gestures, intonations, and pauses. To sum up, fire, intelligence, and an adequate vocal organ, but shyness, awkwardness, monotonous delivery, and hesitation in gesture and gait: such seem to have been the dramatic qualities and shortcomings of “la belle Juliette.” The testimony of Pradier has been confirmed by that of L’Artiste. If there is any need to say more, we can judge by an analysis of her engagements with Harel. On February 7th, 1832, Harel signs a contract with her for thirteen months, to begin from the March 1st following. He brings her back from the Odéon to the Porte St. Martin, and promises her the modest salary of four thousand francs per annum, payable monthly. But he does not treat her as a “general utility” actress—on the contrary, he insists that she keep principally to the part of jeune première in comedy, tragedy, and drama; that she learn daily at least forty lines or verses of the parts which shall be allotted to her; that she furnish at her own expense all the dresses necessary for her parts; that she be present at all rehearsals called by the administration of the theatre. On January 13th, 1833, the two agree that the engagement shall be prolonged on the same conditions until April 1st, 1834. Between whiles, Juliette continued to create parts. It must be confessed that she led the customary life of a theatrical star. From the Boulevard St. Denis, where she lived, to the Boulevard du Temple, which was then the hub of the social world and the centre of amusement, the distance was negligible. She was therefore present at every scene of this ceaseless round of entertainment. Her wardrobe enjoyed a certain renown. Her journeys, one of which was to Italy towards the end of 1832, helped to keep her before the public. Beautiful as a goddess, merrier than ever, her bearing unconcerned, her arm lightly placed within that of the chance companion of the moment, her eyes flashing fire, though her heart might be full to bursting, she sailed towards Cytheræa without apparent regret, without thought of return. It was at this moment that Victor Hugo succeeded in bringing her back into port, and keeping her there for ever, the slave of one master, the woman of one love. CHAPTER II PRINCESSE NÉGRONI TWO portraits of Victor Hugo are extant: one by Devéria executed in 1829, the other by Léon Noël in 1832.[3] What a change is visible in the short space of three years! The “monumental” brow which reminded Théophile Gautier of the “fronton de temple Grec” is the same; but, whereas in 1829 it was instinct with lofty thought and pleasant fancies, in 1832 worry and suspicion have already scored it deeply with lines of care. In 1829 Devéria recognised and rendered the characteristic expression of the poet: that bright, upward glance which ten years before had caused the author of the Odes to be compared to a stained-glass archangel. In 1832 Léon Noël saw a fixed, overshadowed gaze, whose severity is further accentuated by knitted brows. In 1829 fleshy, sinuous lips always half ready for a smile or a kiss, indicate both sensuality and humour. In 1832 they are tightly compressed, their outline exaggeratedly firm; they give the impression of having forgotten joy and learnt to express only will. Even in the quality of the flesh-tints the artists disagree. According to Devéria the pallor natural to the poet bears the impress of health and placidity, whereas Léon Noël’s rendering reveals sickliness and a sense of doom. What, then, had happened between the dates of the two portraits? Had the whole character of the poet changed? Had he lost some precious article of faith or conviction, or was it that the mainspring of his enthusiasm had failed him? Nay—his soul still cherished the same treasures of idealism. The former penitent of the Abbé Lammenais still preserved at thirty his ardent, perhaps even narrow Catholicism, his cult of purity, his contempt for physical indulgence, his delight in the joys and duties of family life. Eager for self-sacrifice, rich in the hopes and illusions he confided to his few intimate friends, he dreamed of sharing everything with the people, towards whom the trend of events inclined him to turn; just as he had once written Les Lettres à la fiancée for a single reader, so he had now published for the crowd Les Feuilles d’Automne, the curious preface to that collection, and in the collection itself the sublime Prière pour tous. His was a soul profoundly religious, and a lofty mind which aspired to raise itself ever higher. But he did not live by thought alone. Many of those who watched him working without intermission, with a method and a will that defied human weakness, who saw how numerous were his lectures, how varied his researches, and who witnessed the incessant travail of his imagination, thought that the author of Hernani and Dona Sol must be lacking in human sensibility. He protests against this. In a letter to Sainte- Beuve he says: “I live only by my emotions; to love, or to crave for love and friendship, is the fundamental aim—happy or unhappy, public or private—of my life.”[4] He might equally have added: “That is why for the last two years my brow is no longer placid, why my eyes seek the ground, why my lips are so bitterly compressed.” The secret of the change in Victor Hugo’s physiognomy lies in the treachery of his wife and his best friend. Love and friendship failed him together. His moral distress was immense, his pain unfathomable. They inspired him with plaints so touching that, after hearing them, one asks oneself whether it can ever be possible for him to forget or recover. One despairs of the healing of the man who writes: “I have acquired the conviction that it is possible for the one who possesses all my love to cease to care for me. I am no longer happy.”[5] Calmness did return to him, however. It was thus: For the last ten years, that is, practically ever since her marriage, Madame Victor Hugo had behaved in such a manner that when the day of the betrayal, in which she was the accomplice of his friend, dawned, the poet was able to consider her with contempt. Although fairly gifted in appearance, she possessed neither taste nor cleverness in the matter of dress; she had always shown herself to him in careless attire and unfashionable gowns. Absent-minded and limited in intelligence, she remained uncultured and oblivious of the genius of her husband, and of achievements of which she appreciated only the financial value. In addition, she had declined to share the noble ideal originally proposed to her by her twenty-year-old bridegroom: love considered as “the ardent and pure union of two souls, a union begun on earth to end not even in heaven.”[6] The poet was thus authorised, and even forced, to seek happiness in the arms of some other woman. If Victor Hugo had wished to avoid that “other woman “ he would have had to remain for ever concealed in his tower of ivory— which certainly did not happen. VICTOR HUGO AS A YOUNG MAN. In the possession of M. le D. F. Jousseaume. He emerged from it in the spring of 1832, on May 26th, and appeared at an artists’ ball. There he saw Juliette for the first time; but she was so beautiful and so captivating that he was afraid of her, and dared not address her. Five years later he recorded this impression of admiring timidity in the book in which they had agreed to celebrate all their anniversaries, namely the Voix Intérieures.[7] For more than six months the poet lacked the courage to seek his vision again, but in the early days of 1833 he found Juliette among the actresses Harel suggested to him at the Porte St. Martin for his play, Lucrèce Borgia. He accepted her at once and gave her a small part, that of Princesse Négroni. Then the rehearsals began. Juliette admits in one of her letters that she showed herself very coquettish and mischievous. According to her, the poet made up his mind the first day and the first hour. But matters did not really proceed so easily. Victor Hugo, who, as stated above, cherished the highest and purest moral ideal, must have carried his principles with him into the wings and on the stage. He was not partial to actresses; he was suspicious of them, and made no secret of the feeling. One must picture him rather as on the defensive than bold and adventurous. His attire and appearance were not calculated to ensure his social success. We hear from Juliette herself that he wore his hair en broussaille, and that his smile revealed “crocodile’s teeth.” Allowing himself to be dressed by his tailor in the fashions of four or five years earlier, his trousers were firmly braced above the waist, tightly drawn over his boots, and fastened under the instep by a steel chain. To sum up, as a dandy who writes these details concludes, he was a worthy citizen desirous of being in the fashion, but unable to compass it. Fortunately the said citizen could speak, and his words of gold were sufficient to gloss over any personal disadvantages. To men he discoursed of his hopes and plans, and even his forecasts for the future; to women of their beauty and the supremacy of such a gift. Men found his arrogance intolerable, and complained that they must always either listen, or talk to him of himself. But women liked him for abasing his pride before them; they appreciated his good manners, his urbanity, and the incomparable art with which he cast his laurels at their feet. The god took on humanity for them; they were careful to pose as goddesses before him. Juliette possessed everything needful to accomplish this end. She was about to enter her twenty-sixth year; very shortly afterwards, Théophile Gautier wrote this fulsome description of her, to please the master: “Mademoiselle Juliette’s countenance is of a regular and delicate beauty; the nose chiselled and of handsome outline, the eyes limpid and diamond-bright, the mouth moistly crimson, and tiny even in her gayest fits of laughter. These features, charming in themselves, are set in an oval of the suavest and most harmonious form. A clear, serene forehead like the marble of a Greek temple crowns this delicious face; abundant black hair, with wonderful reflections in it, brings out the diaphanous and lustrous purity of her complexion. Her neck, shoulders, and arms, are of classic perfection; she would be a worthy inspiration to sculptors, and is well equipped to enter into competition with those beautiful young Athenians who lowered their veils before the gaze of Praxiteles conceiving his Venus.[8] These elegant phrases probably represent very imperfectly the impression produced by Juliette. We have had the privilege of perusing some of the proposals addressed to her, and we have read the cruel novel Alphonse Karr prided himself on having written about her.[9] Everything conspires to show that she shone and dazzled especially by her all-conquering air of youth and ingenuousness. When she passed, spring was over. Her age, condition, manner of life, had made of her a woman, while her smile and movements kept her still a girl. Her gait was, in fact, so fairy-like that her admirers all make use, certainly without collusion, of the adjective, “aérien.” Her face presented a perfect image of calmness and purity. Did she raise her eyes, a soft, velvety, sometimes mournful gaze was revealed—did she lower them, it was still the dawn, but a dawn concealing itself behind a veil. All beautiful countenances have a soul; upon Juliette’s could be read less contentment than unsatisfied ardour, more melancholy than serenity. Neither luxury, nor pleasure, nor flattery, was able to satisfy the dearest desire of her heart from the age of sixteen, which was, to become the passionate companion of an honest man. She lent herself to her lovers, but her eyes made it plain that she still sought the perfect one to whom she would some day capitulate. According to herself—and we have no reason to doubt her—she selected Victor Hugo as soon as she made his acquaintance. She expended herself in advances and coquetries, and infused into the study and expression of her small part all the art of which she was capable. In the third act of the play, when Maffio said to her: “L’amitié ne remplit pas tout le cœur,” she had to query: “Mon Dieu, qu’est-ce qui remplit tout le cœur?” It seems that at rehearsals she did not wait for Maffio’s answer, but turned subtly towards the poet and sought him with her eyes. He, however, still hung back; a tradition attributed to Frédérick Lemaître, which we have carefully verified,[10] informs us that he surprised even the actors of the Porte St. Martin by the respectful tone he maintained towards his beautiful interpreter. Far from addressing her in the familiar manner customary in theatrical circles, he called her Mademoiselle Juliette, kissed her hand, and bowed low before her. Frédérick could not believe his eyes. At last the evening of the first performance arrived; the success of the piece was immediate. Juliette had her share of it. She was so beautiful as the poisoner that, as Théophile Gautier says, the public forgot to pity her unhappy guests and thought them fortunate to die after kissing her hand.[11] After the third act she received congratulations even from Mademoiselle Georges, who folded her in her arms and covered her with kisses. As for the author, we do not know what he did in the first blush, but the next morning he wrote thus: “In Lucrèce Borgia, certain personages of secondary importance are represented at the Porte St. Martin by actors of the first order, who perform with grace, loyalty, and perfect taste, in the semi-obscurity of their parts. The author here thanks them. Among these, the public particularly distinguished Mademoiselle Juliette. It can hardly be said that Princesse Négroni is a part: it is in some sense an apparition; a figure, beautiful, young, fatal, which floats by, raising one corner of the sombre veil that covers Italy at the commencement of the sixteenth century. Mademoiselle Juliette threw into this figure an extraordinary virility. She had few words to say, but she filled them with meaning. This actress only requires opportunity, to reveal forcibly to the public a talent full of soulfulness, passion, and truth.”[12] Nothing could be better said or more openly declared, and the interpreter of the part was thus informed of the intentions of the author. He adopts her, makes her his own, is ready to share his own glory with the youthful renown of Négroni. For her he will conceive marvellous parts; she will create them. Juliette understood him perfectly. With the ardour of a twenty-five-year-old imagination excited by love, she began to dream of her poet, of their two lives henceforward united in a common success. While Victor still wavered, still hesitated whether to seek this actress of whom thousands of alarming anecdotes were current, she made foolish projects, settled trivial details, savoured one by one those joys of the dawn of love which so many women prefer to the delights of possession. He came at last on February 27th, Shrove Sunday, towards the end of the afternoon. The weather had been beautiful, one of those soft spring days that enhance the beauty of Parisian women and make the men pensive. The streets were littered with booths, noisy with fireworks, discordant with raucous voices. The Boulevard du Temple exploited a fair where, on that particular day, masks and songs added variety and movement. Victor Hugo, who lived in the Place Royale and never drove in a cab, had to cross this scene on foot. His thoughts were still confused; he, who was ordinarily so determined in his plans, still debated whether he should mount the actress’s stairs. After all, this child seemed fond of him —but whom was she not fond of? Who was there that did not figure on the list of her lovers? Yesterday, Alphonse Karr, loutish, a babbler, a writer of romances, fairly honest, but so ponderous in his pretentious and everlasting coat of black velvet! To-day a Russian Prince who was said to have offered Juliette a marvellous trousseau, copied from the wedding outfit of Madame la Duchesse d’Orléans. He was also credited with the intention of installing her in a sumptuous apartment in the Rue de l’Échiquier.... What should a poet, a great poet conscious of his mission, want with such a girl? Then a voice sang in the memory of Victor Hugo, a voice almost supernatural, like those with which he used to endow the good fairies in the days when he covered the margins of his lesson-books with fancies. “Mon Dieu,” it wailed, “qu’est-ce qui remplit tout le cœur?” And at last the poet walked up to place the answer at the feet of his new friend. Like all great hearts, Victor and Juliette fell head over ears in love, and thought of nothing else. The poet was no longer to be found in the Place Royale, or, if he was, he remained abstracted, a stranger at his own hearth. He, usually so precise, so punctual and methodical, now neglects his guests and is late for meals. When evening comes and his drawing-room is filled with voices, song, and discussion, and with women who smile upon him and men who render him homage, he forgets everything, even to be polite. His eye is on the clock, he longs for the blessed hour of the rendezvous at 9, Rue St. Denis. Sometimes he snatches up a stray sheet of paper and scribbles feverishly. Verse or prose? More often it is verse, for it will be offered to Juliette, and nothing flatters her so much as these poetical surprises created in the midst of the din and diversions of a social circle. Neither did she give herself in niggardly fashion. From the very beginning she said to him: “I am good for nothing but to love you!” She threw herself thoroughly, magnificently, into the part. Thus quoth she—and wrote likewise, for she, also, wrote from everywhere: from her room, from a friend’s house, from her box at the theatre, from a chance café. For her tender “scribbles,” as she calls them, any scrap of paper will serve, even an envelope or the margin of a newspaper; and for instrument a pencil, a blackened pin, even a steel pen, that novel invention of which every one is talking, but which she hardly knows how to use. Of the form of her letters she takes little heed. No lexicon is needed to say that one loves. A woman in the throes of passion does not worry about grammar. Juliette is of that opinion, and that is why her early letters are so full of charm. They exhale the perfume of love, and also its timidity. Her letters were not merely a means of giving vent to her feelings: they seemed to her the only occupation fit for a sweetheart worthy of the name, when the lover is absent or delayed. On February 18th, 1833, Victor Hugo had left her early in the morning. She had rushed to the window to follow him with her eyes as long as he was in sight. At the corner of the Rue St. Denis, as he was about to turn into the Rue St. Martin, he looked back; they exchanged a volley of kisses. Then she found herself lonely indeed, oblivious of her surroundings, like a somnambulist who walks and speaks and acts in a dream. Around her was an immense void, in her heart one sole desire: to see the poet again, and never to part from him. It was to fill that void and beguile that desire that she took up the habit of writing to him. JULIETTE DROUET IN THE RÔLE OF LA PRINCESSE NÉGRONI. He, on his part, repaid letters and messages as much as possible with his own presence. Any time he could snatch from his children and work and visits to publishers or theatre-managers, he gave to Juliette. As Lucrèce Borgia continued to reap a signal success—the greatest, from the financial point of view, that the Porte St. Martin had ever experienced—Harel asked the author for a new play. Victor Hugo wrot...