the ways of men(人们的手段)-第41节
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sides of this courtyard； and contain LES COMMUNS； the kitchen； laundry；
servants' rooms； and the other annexes of a large establishment。 This
arrangement for a summer house is for some reason neglected by our
American architects。 I can recall only one home in America built on this
plan。 It is Giraud Foster's beautiful villa at Lenox。 You may visit five
hundred French chateaux and not find one that differs materially from this
plan。 The American idea seems on the contrary to be a square house with a
room in each corner； and all the servants' quarters stowed away in a
basement。 Cottage and palace go on reproducing that foolish and
inconvenient arrangement indefinitely。
After an hour's chat over our drinks； during host has rippled on from
one subject to another with the lightness of touch of a born talker； we get
on to the subject of the grounds； and his plans for their improvement。
Good luck has placed in Sardou's hands an old map of the gardens as
they existed in the time of Louis XV。； and several prints of the chateau
dating from about the same epoch have found their way into his portfolios。
The grounds are； under his care； slowly resuming the appearance of
former days。 Old avenues reopen； statues reappear on the disused
pedestals； fountains play again； and clipped hedges once more line out the
terraced walks。
In order to explain how complete this work will be in time； Sardou
hurries me off to inspect another part of his collection。 Down past the
stables； in an unused corner of the grounds； long sheds have been erected；
under which is stored the debris of a dozen palaces； an assortment of
eighteenth… century art that could not be duplicated even in France。
One shed shelters an entire semicircle of TREILLAGE； pure Louis
XV。； an exquisite example of a lost art。 Columns； domes； panels； are
packed away in straw awaiting resurrection in some corner hereafter to be
chosen。 A dozen seats in rose… colored marble from Fontainebleau are
huddled together near by in company with a row of gigantic marble
masques brought originally from Italy to decorate Fouquet's fountains at
his chateau of Vaux in the short day of its glory。 Just how this latter find is
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to be utilized their owner has not yet decided。 The problem； however； to
judge from his manner； is as important to the great playwright as the plot
of his next drama。
That the blood of an antiquarian runs in Sardou's veins is evident in the
subdued excitement with which he shows you his possessions … statues
from Versailles； forged gates and balconies from Saint Cloud； the carved
and gilded wood…work for a dozen rooms culled from the four corners of
France。 Like the true dramatist； he has； however； kept his finest effect for
the last。 In the centre of a circular rose garden near by stands； alone in its
beauty； a column from the facade of the Tuileries； as perfect from base to
flower…crowned capital as when Philibert Delorme's workmen laid down
their tools。
Years ago Sardou befriended a young stone mason； who through this
timely aid prospered； and； becoming later a rich builder； received in 1882
from the city of Paris the contract to tear down the burned ruins of the
Tuileries。 While inspecting the palace before beginning the work of
demolition； he discovered one column that had by a curious chance
escaped both the flames of the Commune and the patriotic ardor of 1793；
which effaced all royal emblems from church and palace alike。
Remembering his benefactor's love for antiquities with historical
associations； the grateful contractor appeared one day at Marly with this
column on a dray； and insisted on erecting it where it now stands； pointing
out to Sardou with pride the crowned 〃H；〃 of Henri Quatre； and the
entwined 〃M。 M。〃 of Marie de Medicis； topped by the Florentine lily in
the flutings of the shaft and on the capital。
A question of mine on Sardou's manner of working led to our
abandoning the gardens and mounting to the top floor of the chateau；
where his enormous library and collection of prints are stored in a series of
little rooms or alcoves； lighted from the top and opening on a corridor
which runs the length of the building。 In each room stands a writing…table
and a chair； around the walls from floor to ceiling and in huge portfolios
are arranged his books and engravings according to their subject。 The
Empire alcove； for instance； contains nothing but publications and pictures
relating to that epoch。 Roman and Greek history have their alcoves； as
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have mediaeval history and the reigns of the different Louis。 Nothing
could well be conceived more conducive to study than this arrangement；
and it makes one realize how honest was the master's reply when asked
what was his favorite amusement。 〃Work！〃 answered the author。
Our conversation； as was fated； soon turned to the enormous success
of ROBESPIERRE in London … a triumph that even Sardou's many
brilliant victories had not yet equalled。
It is characteristic of the French disposition that neither the author nor
any member of his family could summon courage to undertake the
prodigious journey from Paris to London in order to see the first
performance。 Even Sardou's business agent； M。 Roget； did not get further
than Calais； where his courage gave out。 〃The sea was so terrible！〃 Both
those gentlemen； however； took it quite as a matter of course that Sardou's
American agent should make a three…thousand…mile journey to be present
at the first night。
The fact that the French author resisted Sir Henry Irving's pressing
invitations to visit him in no way indicates a lack of interest in the success
of the play。 I had just arrived from London； and so had to go into every
detail of the performance； a rather delicate task； as I had been discouraged
with the acting of both Miss Terry and Irving； who have neither of them
the age； voice； nor temperament to represent either the revolutionary tyrant
or the woman he betrayed。 As the staging had been excellent； I enlarged on
that side of the subject； but when pressed into a corner by the author； had
to acknowledge that in the scene where Robespierre； alone at midnight in
the Conciergerie； sees the phantoms of his victims advance from the
surrounding shadows and form a menacing circle around him； Irving had
used his poor voice with so little skill that there was little left for the
splendid climax； when； in trying to escape from his ghastly visitors；
Robespierre finds himself face to face with Marie Antoinette； and with a
wild cry； half of horror； half of remorse； falls back insensible。
In spite of previous good resolutions； I must have given the author the
impression that Sir Henry spoke too loud at the beginning of this scene
and was in consequence inadequate at the end。
〃What！〃 cried Sardou。 〃He raised his voice in that act！ Why； it's a
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scene to be played with the soft pedal down！ This is the way it should be
done！〃 Dropping into a chair in the middle of the room my host began
miming the gestures and expression of Robespierre as the phantoms
（which； after all； are but the figments of an over…wrought brain） gather
around him。 Gradually he slipped to the floor； hiding his face with his
upraised elbow； whispering and sobbing； but never raising his voice until；
staggering toward the portal to escape； he meets the Queen face to face。
Then the whole force of his voice came out in one awful cry that fairly
froze
