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I left the house of Victor Hugo without saying good-bye to him, a trifle ashamed of myself. The next day he came to see me. I told him some tale to account for my illness, and I saw no more of him except at the rehearsals of Hernani. The first performance of Hernani took place on November 21, 1877. It was a triumph alike for the author and the actors.
Everything went very smoothly till an unlucky young "mountaineer" rushed on the stage and terrified me and Hernani half to death by inarticulating some horrible intelligence of the utmost importance to us, which his fright rendered quite incomprehensible.
In what follows, Borrow reveals in a consummate manner his power of drawing into his vicinity extraordinary events: "On my release, I did not revisit my lodgings for some days, but lived at an hotel. I returned late one afternoon, with my servant Francisco, a Basque of Hernani, who had served me with the utmost fidelity during my imprisonment, which he had voluntarily shared with me.
Saturday, 17th. ... My father, thank God, appears much better.... I have christened the pretty mare I have bought "Donna Sol," in honor of my part in "Hernani." In the evening I read Daru, and wrote a few lines of "The Star of Seville;" but I hate it, and the whole thing is as dead as ditch-water. Sunday, 18th. To church.... After I came home I went and sat with my father.
I made up my mind, too, to stand on the defensive, and very soon an occasion presented itself. L'Etrangere was to be played for the second time at a matinee, June 21, 1879. The day before I had sent word to Mayer that I was not well, and that as I was playing in Hernani at night, I should be glad if he could change the play announced for the afternoon if possible.
The "young morn" came picking her way from the east, leading with her a dripping, draggled May, instead of Milton's glorious vision. After church, sundry callers: Mr. C bringing prints of the dresses for "Hernani," and the W s, who seem in a dreadful fright about the present state of the country. I do not suppose they would like to see Heaton demolished.
"Ernani," produced at Venice in 1844, also scored a success, owing to the republican sentiment in the libretto, which was adapted from Victor Hugo's "Hernani." Many works followed in quick succession, each arousing the enthusiasm of the audiences, chiefly when an opportunity was afforded them of expressing their feelings against the Austrian rule.
If corps of the size of those now employed are not actually joined, there must be a certain communication between them; for, without communication there can be no co-operation; and any attempt at co-operation would, in my opinion, in all probability, lead to disasters such as have recently taken place at Hernani. How are these troops situated? General Evans's troops are at St.
There were much glare and glitter and piquancy and phantasm much of what has been since seen in "Hernani." There were arabesque figures with unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There was much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust.
Before Rachel came, it had been thought that the new romantic drama of MM. Hugo and Dumas, because of its greater truth to nature, had given the coup de grâce to the old classic plays; but the public, at her bidding, turned gladly from the spasms and the rant of "Angelo" and "Angèle," "Antony" and "Hernani," to the old-world stories, the formal tragedies of the seventeenth century poet-dramatists of France.
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