Argument of the Play of Fedora: Drama in Four Acts (Classic Reprint)

Nouvelle Biographic Gcne rale by Doctor Hoefer, and constantly adding to the stores of his learning, and making provisions of arms for the literary combat. A las! the first literary battle of this courageous soldier was to end (in disorder. The conqueror began with defeat. La Taverne des Etudiants, a comedy in three acts of verse, was, in spite of its amusing qualities, its originality and its many fine lines, a non-success, a failure, a fiasco (we may as well say the word) of the most pronounced description; piteous baptism of fire, which retarded for several years the blossoming of the ardent hopes of the indomitable wrestler. In this plight poor Sardou, shattered but still in a fever of ambitious expectancy, was forced to stand aside and see himself passed by for the successes of that year, 1854, which remained a never to be forgotten year for him. It was then that Sardou, having entered into partnership with Paul Feval, a novelist of the gloomy rder, who, in spite of many efforts had, up to that period, obtained no success in the theatre suddenly signed Le Bossn, one of the sword and cloak school of drama, and certainly one of the most charming and the best contrived since the days of Dumas pere. Sardou, when young, had the profile of Bonaparte, as he has now that of Erasmus having made allowances for the period, he threw into the fire all the used up tricks, worn out phrases, old fashioned platitudes, and in each new work he extended his method. It was then they had Sardou in his early style ;airy, amusing, ironical, as in the Pattes de mouche, the Femmes fortes, j-$08 I ntimes and La Famille Benoilou, in the Vieuse Gar cons and Maison Neuve, exquisite productions, wherein one feels that the author has been the first to take delight in them. Later on he wrote Seraphine and Fernande, both of which are pieces of the first order of merit. One day, one of t
(Typographical errors above are due to OCR software and don't occur in the book.)