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Updated: May 31, 2025
Shakespeare is between Sardou and Shaw. Euripides and Clyde Fitch! Upton Sinclair and Sophocles! Aeschylus and F. Anstey! D'Annunzio and Richard Harding Davis! Augustus Thomas and Tolstoi! More alphabetical humor.
One of the gates is closed and moss-grown. Its owner lies in Père-la-Chaise. At the other I ring, and am soon walking up the famous avenue bordered by colossal sphinxes presented to Sardou by the late Khedive.
In the same suggestive essay, M. Maeterlinck remarked on the steady decline of the taste for bald theatrical anecdotes, the taste which Scribe and Sardou were content to gratify; and he declared that "mere adventures fail to interest us because they no longer correspond to a living and actual reality."
At bottom, Sardou, Gérôme, and Poe, had little or nothing to say; that is their misfortune, no doubt; but it is not their fault, for, apparently, each one of them made the best of his native gift. In his time Milton was the most careful and conscientious of artists in verse-making, and so, in his turn, was Pope, whose ideals were different, but whose skill was no less in its kind.
I know that one critic was enraged because I did not go to see him; and a third person came to tell me so this morning, adding: "What do you want me to tell him?...But Messieurs Dumas, Sardou and even Victor Hugo are not like you. Oh! I know it! Then you are not surprised, etc." Farewell, dear good adored master, friendly regards to yours. Kisses to the dear little girls, and all my love to you.
Plague take great men! What right had they to force one into the jury-box? Still less was it compulsory to return a verdict if, as the vulgar were apt to think, the acceptance of any one "'ism" precluded the acceptance of another, so that to be an Ibsenite was synonymous with detesting the dramas of Sardou, and to be a Wagnerite involved a horror of Mendelssohn.
It is not Sardou of course not but it is of his school, and very well done indeed. The situations are not new, but they are powerfully worked out. I am anxious to secure it. If not for you, for some one else." "Very well. I will read the manuscript. If I like it I will send for the author." With this show of tepid interest on the part of his star Westervelt had to be content.
Bernard had published a volume of odes: 'Plus Deuil que Joie' , which was not much noticed, but a series of stories in the same year gained him the reputation of a genial 'conteur'. They were collected under the title 'Le Noeud Gordien', and one of the tales, 'Une Aventure du Magistrat, was adapted by Sardou for his comedy 'Pommes du voisin'. 'Gerfaut', his greatest work, crowned by the Academy, appeared also in 1838, then followed 'Le Paravent', another collection of novels ; 'Les Ailes d'Icare ; La Peau du Lion and La Chasse aux Amants ; L'Ecueil ; Un Beau-pere ; and finally Le Gentilhomme campagnard, in 1847.
In his own work, he began, in such pieces as Lady Inger of Ostråt, by imitating and applying the formulas of Scribe and the earlier Sardou; and it was only after many years that he marched forward to a technique entirely his own. Both Sir Arthur Wing Pinero and Mr. Stephen Phillips began their theatrical career as actors.
M. Sarcey does not tell us what his interlocutor replied; but he might have said, like the hero of Le Réveillon: "Are you sure there is no mistake? Are you defending Sardou, or attacking him?" For another example of ultra-complex preparation let me turn to a play by Mr. Sydney Grundy, entitled The Degenerates. Mr.
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