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On her lovely hair she was wearing a little diadem of turquoises and diamonds, and her small feet were on a cushion of silver brocade. All through Coppee's piece my eyes wandered frequently to this cushion, and I saw the two little feet moving restlessly about.
The only difference between the short stories of these two writers is this, that notwithstanding all the mastercraft of Coppée's work, one forgets the impressions produced by the reading of his work while it is almost impossible to forget "The Lighthouse Keeper" looking on any lighthouse, or "Yanko the Musician" listening to a poor wandering boy playing on the street, or "Bartek the Victor" seeing soldiers of which military discipline have made machines rather than thinking beings, or "The Diary of a Tutor" contemplating the pale face of children overloaded with studies.
It is understandable for this reason why it sometimes happens that pieces refused by all theatrical managers obtain a prodigious success when by a stroke of chance they are put on the stage. The recent success of Francois Coppee's play "Pour la Couronne" is well known, and yet, in spite of the name of its author, it was refused during ten years by the managers of the principal Parisian theatres.
'Zanetto' , on the other hand, seems to contain the best work which Mascagni has yet given to the world. It is founded upon Francois Coppée's charming duologue, 'Le Passant, a graceful scene between a world-weary courtesan and a youthful troubadour who passes beneath her balcony.
Although not generally esteemed as an article of food in France, there are still many people scattered throughout the country who maintain that a civet de chat is as good, or better, than a civet de lievre. M. Francois Coppee's fondness for cats as pets is so well known that there was great fitness in placing his name first upon the jury of awards at the 1896 cat show in Paris.
This is a wide field, indeed, which M. Coppee has cultivated to various purposes. Take Coppee's works in their sum and totality, and the world-decree is that he is an artist, and an admirable one. He plays upon his instrument with all power and grace. But he is no mere virtuoso. There is something in him beyond the executant.
In 1885 the works of Marie Bashkirtseff were exhibited. In the catalogue was printed François Coppée's account of a visit he had made her mother a few months before Marie's death. He saw her studio and her works, and wrote, after speaking of the "Meeting," as follows: "At the Exhibition Salon before this charming picture, the public had with a unanimous voice bestowed the medal on Mlle.
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