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Updated: May 31, 2025
The final scene, in which Robespierre is brought under accusation by the Convention, was vastly inferior to the same thing in "Thermidor"; and, what was worse, instead of paraphrasing or translating the speeches of Billaud-Varennes, Tallien, and Robespierre, which he might have found in the "Moniteur," Sardou, or rather Irving, makes the leading characters yell harangues very much of the sort which would be made in a meeting of drunken dock laborers to-day.
There would have been no larger significance in the painted epigrams of Gérôme, if that master of line had cared less for draftsmanship. There would have been no more solid value in the often amusing plays of Sardou, if he had not delighted in the ingenuity of his dramaturgical devices.
The sheer symbolism of the poet-philosopher is powerfully suggestive, and these later plays have an interest of their own, no doubt; but it is in the earlier social dramas that Ibsen most clearly reveals his dramaturgic genius, in the 'Pillars of Society, and the 'Doll's House, in 'Ghosts' and in 'Hedda Gabler. Dennery might envy the ingenuity with which Consul Bernick is tempted to insist on the fatal order that seems for a season to be the death-sentence of his own son; and Sardou would appreciate the irony of Nora's frantic dance at the very moment when she was tortured by deadly fear.
Sir William Saumarez must be an exceedingly simple-minded person to accept the substitution, and exceedingly unfamiliar with the French drama of the 'seventies and 'eighties. If he had his wits about him he would say: "I know this dodge: it comes from Sardou.
There are a few, I know, who think that Froufrou was written by the fertile and ingenious M. Victorien Sardou, and who, without thinking, credit M. Jacques Offenbach with the composition of the words as well as the music of the Grande Duchesse; and as for Carmen, is it not an Italian opera, and is not the book, like the music, the work of some Italian?
In calling attention to a set of carved and gilded furniture, covered in Beauvais tapestry, such as sold recently in Paris at the Valençay sale—Talleyrand collection—for sixty thousand dollars, Sardou mentions with a laugh that he got his fifteen pieces for fifteen hundred dollars, the year after the war, from an old château back of Cannes!
'Sardou was with me when I was in Alexandria. She laughed, and what with her eyes, to which a single glass of the rare hock had given an added sparkle, and what with her faultless teeth, she fairly dazzled on her companion. 'Yes, that is the creature's absurd name.
This may seem like a leaf from the book of Sardou; but in reality it was a perfectly natural and justified expedient. It kept the tension alive throughout a scene of ethical discussion, interesting in itself, but pretty clearly destined to lead up to the undramatic alternative a policy of silence and inaction. Mr.
There is no exhibition of human strength and human weakness. There is little of that clash of character against character from which results true comedy. But even if his characters are mere empty-headed automata, even if his plays have not the literary value of Mr. W.S. Gilbert's, even if his pieces have not the situations of Sardou or the wit of Sheridan, he has a simple sweetness all his own.
It is always a case of mountain and mouse in these plays; take as an example the Sardou Dante play produced with prodigious drum-beating a while ago at Drury Lane. Who, if names had been altered, would have guessed that the hero of the piece was the author of the immortal poems?
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