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Updated: May 27, 2025
Montigny, accordingly, in a letter enclosed within a loaf of bread the last, as he hoped, which he should break in prison was instructed, after cutting off his beard and otherwise disguising his person, to execute his plan and join his confederates at Hernani. Unfortunately, the major-domo of Montigny was in love.
They have been playing "Hernani" at the Theatre-Francais since February 25. The receipts for each performance have been five thousand francs. The public every night hisses all the verses. It is a rare uproar. The parterre hoots, the boxes burst with laughter. The actors are abashed and hostile; most of them ridicule what they have to say.
They entailed much intimate intercourse with Lord and Lady Francis Leveson Gower, afterward Egerton, and finally Earl and Countess of Ellesmere, who became kind and constant friends of mine. Victor Hugo's play of "Hernani," full of fine and striking things, as well as of exaggerations verging on the ludicrous, had been most admirably rendered into rhymed verse by Lord Ellesmere.
The year 1830 was the '93 of the classic drama, but the passions it evoked have long since been calmed and Hernani and Le Roi s'Amuse, the latter suppressed by Louis Philippe after its first appearance, have taken their places in the classic repertory of the Français beside the tragedies of Corneille and Racine. At No. 161 Rue St.
The light shone upon the playbills on an adjacent wall; the theatres were open. I looked at the trees as I passed. They were playing Hernani at the Theatre des Italiens, with a new tenor named Guasco. The Place de la Bastille was frequented, as usual, by goers and comers, the most peaceable folk in the world.
At home found a note from Lady Francis and the epilogue Lord Francis has written to "Hernani," which I am certainly bound to like, for it is highly complimentary to me. I went to the real theater in the evening to do real work. The house was good, but I played like a wretch ranted, roared, and acted altogether infamously.
"I'll fetch your honour a play bill immediately," said the innkeeper. Off went mine host returning in a few moments with a MS. play bill on which was written in large red letters: "Hernáni or Castilian Honour," followed by the names of the personages.
The new school was on the point of achieving its earliest signal triumphs. Victor Hugo's first poems had just been followed by the dramas Hernani and Marion Delorme. Dumas' Antony was drawing crowded and enthusiastic houses. A few months before the publication of Rose et Blanche appeared Notre Dame de Paris.
Hernáni was naturally the manager himself, Leander Babérossy, Elvira was to be played by Miss Palmira, the other gentlemen were simply indicated by N. N., X. X. or . "They are all women you know," explained the innkeeper, "who don't want to advertise their names. The charge for the front seats is 21/2d, for the second-class places, a penny." "The gentry can sit where they please, I presume?"
Although the third and modern type of tragedy has grown to be almost exclusively the property of realistic writers, it is interesting to recall that it was first introduced into the theatre of the world by the king of the romantics. It was Victor Hugo's Hernani, produced in 1830, which first exhibited a dramatic struggle between an individual and society at large.
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