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THE WAYS OF MEN
CHAPTER 3 … Cyrano； Rostand；
Coquelin
AMONG the proverbs of Spanish folk…lore there is a saying that good
wine retains its flavor in spite of rude bottles and cracked cups。 The
success of M。 Rostand's brilliant drama； CYRANO DE BERGERAC； in
its English dress proves once more the truth of this adage。 The fun and
pathos； the wit and satire； of the original pierce through the halting； feeble
translation like light through a ragged curtain； dazzling the spectators and
setting their enthusiasm ablaze。
Those who love the theatre at its best； when it appeals to our finer
instincts and moves us to healthy laughter and tears； owe a debt of
gratitude to Richard Mansfield for his courage in giving us； as far as the
difference of language and rhythm would allow； this CHEF D'OEUVRE
unchanged； free from the mutilations of the adapter； with the author's
wishes and the stage decorations followed into the smallest detail。 In this
way we profit by the vast labor and study which Rostand and Coquelin
gave to the original production。
Rumors of the success attained by this play in Paris soon floated
across to us。 The two or three French booksellers here could not import the
piece fast enough to meet the ever increasing demand of our reading
public。 By the time spring came； there were few cultivated people who had
not read the new work and discussed its original language and daring
treatment。
On arriving in Paris； my first evening was passed at the Porte St。
Martin。 After the piece was over； I dropped into Coquelin's dressing…room
to shake this old acquaintance by the hand and give him news of his many
friends in America。
Coquelin in his dressing…room is one of the most delightful of mortals。
The effort of playing sets his blood in motion and his wit sparkling。 He
seemed as fresh and gay that evening as though there were not five killing
acts behind him and the fatigue of a two…hundred…night run； uninterrupted
even by Sundays； added to his 〃record。〃
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THE WAYS OF MEN
After the operation of removing his historic nose had been performed
and the actor had resumed his own clothes and features； we got into his
carriage and were driven to his apartment in the Place de l'Etoile； a cosy
museum full of comfortable chairs and priceless bric…a…brac。 The
conversation naturally turned during supper on the piece and this new
author who had sprung in a night from obscurity to a globe…embracing
fame。 How； I asked； did you come across the play； and what decided you
to produce it？
Coquelin's reply was so interesting that it will be better to repeat the
actor's own words as he told his tale over the dismantled table in the
tranquil midnight hours。
〃I had； like most Parisians； known Rostand for some time as the author
of a few graceful verses and a play （LES ROMANESQUES）which passed
almost unnoticed at the Francais。
〃About four years ago Sarah Bernhardt asked me to her ‘hotel' to hear
M。 Rostand read a play he had just completed for her。 I accepted
reluctantly； as at that moment we were busy at the theatre。 I also doubted if
there could be much in the new play to interest me。 It was LA
PRINCESSE LOINTAINE。 I shall remember that afternoon as long as I
live！ From the first line my attention was riveted and my senses were
charmed。 What struck me as even more remarkable than the piece was the
masterly power and finish with which the boyish author delivered his lines。
Where； I asked myself； had he learned that difficult art？ The great actress；
always quick to respond to the voice of art； accepted the play then and
there。
〃After the reading was over I walked home with M。 Rostand； and had
a long talk with him about his work and ambitions。 When we parted at his
door； I said： ‘In my opinion； you are destined to become the greatest
dramatic poet of the age； I bind myself here and now to take any play you
write （in which there is a part for me） without reading it； to cancel any
engagements I may have on hand； and produce your piece with the least
possible delay。' An offer I don't imagine many young poets have ever
received； and which I certainly never before made to any author。
〃About six weeks later my new acquaintance dropped in one morning
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THE WAYS OF MEN
to read me the sketch he had worked out for a drama； the title role of
which he thought would please me。 I was delighted with the idea； and told
him to go ahead。 A month later we met in the street。 On asking him how
the play was progressing； to my astonishment he answered that he had
abandoned that idea and hit upon something entirely different。 Chance had
thrown in his way an old volume of Cyrano de Bergerac's poems； which so
delighted him that he had been reading up the life and death of that
unfortunate poet。 From this reading had sprung the idea of making Cyrano
the central figure of a drama laid in the city of Richelieu； d'Artagnan； and
the PRECIEUSES RIDICULES； a seventeenth…century Paris of love and
duelling。
〃At first this idea struck me as unfortunate。 The elder Dumas had
worked that vein so well and so completely； I doubted if any literary gold
remained for another author。 It seemed foolhardy to resuscitate the
THREE GUARDSMEN epoch … and I doubted if it were possible to carry
out his idea and play an intense and pathetic role disguised with a
burlesque nose。
〃This contrasting of the grotesque and the sentimental was of course
not new。 Victor Hugo had broken away from classic tradition when he
made a hunchback the hero of a drama。 There remained； however； the risk
of our Parisian public not accepting the new situation seriously。 It seemed
to me like bringing the sublime perilously near the ridiculous。
〃Fortunately； Rostand did not share this opinion or my doubts。 He was
full of enthusiasm for his piece and confident of its success。 We sat where
we had met； unde