A PSALM OF LIFE.
TRADUIT DE LONGFELLOW.
Oh ! ne me dites pas lachement, dans vos
Que la vie est sterile et vide coniine un
Car Paine qui soniineille est niorte et
Tel qu’il nous semble, est un men
La vie est un devoir sacre qui nous
Et le toinbeau n’est pas le but de ta
Tu vivras, ce n’est pas a Paine qu’on adit:
Tu retourneras en poussiere !
La joie et la douleur hantent notre
Mais ne sont pas la tin qui nous est des
Agis! agis! atin d’avoir le lendemain
Le salaire de ta journee !
L’art est long et le temps est rapide, et
Nos coeurs, quoique jamais leur tierte ne
Pareils a des tirmlwrui-s voiles, vont en
Des inarches tristes vers la tombe?
Dans ce bivouac du monde ou mil n’est
A travers les combats dont la vie est
Ne sois pas resigne eomme les vils trou
Sois un lieros dans la melee !
Laisse le passe mort rendre hommage a
Ne crois pas an bonheur que I’avenir
Dans le present vivant concentre tes
Ton coeur en toi, Dleu sur ta tete!
Les sages, en vivant, nous niontrent
Nous pouvons, nous aussi, vivre eomme
Et laisser a pres nous, Pempreinte de
Sur le sable mouvant des ages;
Et peut-etre, en voyant cette empriente
Um frere naufrage sur les dots du hasard,
Reprendra de nouveau courage !
Agissons! agissons! le front toujours
Nos coeurs seals font la loi d’ou le sort
Et toujours poursuivant notre oeuvre
Travailions et sachons attend re !
As long as a person remains silent,
he is honored; but as soon as he opens
his mouth, men sit in judgment
upon his capacity.
ATLANTA, GEORGIA, APRIL, 1885
According to my promise, I am,
this time to give you short sketches
on our Theatres, an ancient and strong
feature of French taste, as well as a
highly characteristic phase of Pari
As you know, Paris contains a large
number of theatres, and as a general
thing, they are well attended. All
classes always find means to go to such
places of amusement.
Some theatres in Paris, those that
occupy the highest rank, receive an
annual subsidy from the French gov
ernment, so that they might be able
to meet the heavy expenses which,
through necessity, fall so often upon
them. Many Theatres have their
regular subscribers, (box and seat
owners.) Arrangement and names
of seats differ, prices differ also, ac
cording to the standing of the thea
tres. At some theatres ladies are not
admitted to the parquet.
La claque, (Romains) or paid ap
plauders, form an annoying, although
characteristic feature in most of the
theatres. The attendants of the
“Vestiaire” (cloak-room) are often
troublesome in their efforts to earn a
pourboire (fee), one of their usual at
tentions is to bring “petits bancs”
(foot-stools) for the use of ladies.
These attendants are called “Ouv
reuse,” their duty is to take your tick
et and to open and to show your re
spective stall or box. These atten
dants are women, well dressed in a
sort of uniform, their caps are a strik
ing part of their costume, they are
made of white net, trimmed elegant
ly with bright colored ribbons.
L’Opera (the new one) is a sumpt
uous edifice, completed only in 1874,
in consequence of the Franco-Prus
sian war. In point of size it is now
the largest theatre in the world, cov
ering altogether an erea of about
three acres. It occupies the centre of
the place de I’opera. The cost of the
site amounted to 10,500,000 francs,
and that of the building itself to 35,
600,000 francs. The building is en
tirely constructed of stone, marble
and iron. Many different countries
have contributed the marbles with
which it is embellished. This struc
ture is simply magnificent in accor
dance with this beautiful square on
which it is placed.
"AS YOU LIKE IT.”
The in terior of the edifice is gorge
ous, beyond description. The spaci
ous vestibule is adorned with mar
ble statues in a sitting posture; on
each side are the offices, and opposite,
the grand staircase, “L’Escalier
d’honneur”, a masterpiece of art.
The steps are of white marble, and
the balustrades of rosso antico, with
a hand rail, formed of Algerian onyx.
At the beginning or end of the, play
this splendid staircase, which affords
room for fifty persons abreast, itself
presents a scene well worth seeing.
On the second floor there are numer
ous ‘‘Foyers” (green rooms) for dif
ferent purposes, to which I cannot do
justice—they are so elegant in every
detail. The arts are plentifully rep
resented and gorgeous mirrows adorn
all imaginary places.
During the entr’actes these green
rooms are filled with promenaders —
in some of them refreshments are to
“La Salle”—Hall of the Opera is
fitted up in the richestand most elab
orate style, contains five hundred tiers
of seats, accommodating 3000 persons.
The boxes are divided into seven
bays. The “Lustre” chandelier, con
tains 350 burners, interspersed with
lyres and seen from below presents
the appearance of a crown of pearls.
The stage is 200 feet in height, 180
in width and 74 in depth. The scen
eries are simply superb and it need
hardly be added the acting and mu
sic are in keeping with the magnifi
cence of the structure, all the chief
artists have been carefully trained at
the Conservatoire. The ballet and
“mise en scene” (sceneries) of the
Parisian Opera are unsurpassed and
indescribable. The staff of perform
ers is not less than 300 in number.
As a general thing each theatre has
its own staff of performers.
Le Theatre Italien, where only It
alian operas are per for fried, is open
only three days in the week. The
building is now somewhat neglected
but, is still a favorite resort of the
“Beau monde.” Seats 1550 persons.
Now, let me mention The Theatre
Francais. “La Comedie Francaise,”
which occupies the highest rank
among the theatres of Paris. The
acting is admirable and the plays are
generally of a high class. This the
atre was founded in 1600 and was un
der the superintendance of Moliere,
from 1658 down to his death. The
edifice has been considerably improv
ed of late. Only classical Tragedies
and Comedies are played here. The
handsome vestibule contains statues
of celebrated tragedians, also, figures
representing Tradegy and Comedy.
The Foyer du public is adorned with
a statue of Voltaire and with busts
and scenes from the writings of cele
brated French Dramatists. Seats for
1380. It will surprise you, I. know,
to hear there is never an orchestra
in this theatre—not even a place for
one. No music is heard, unless now
and then a necessary serenade. The
perfect silence is broken only by the
L’Odeon ranks next to the Theatre
Francais, and is chiefly devoted to
the performance of classical Dramas.
Seats for 1470.
L’Opera Comique is devoted to the
performance of the lesser Operas,
such as Fra Diavolo, La fille du regi
ment. And is a resort for
many cultivated people. Seats for
Le Gymnase Dramatique for Vau
devilles and Comedies, deserves com
mendation, it is a very favorite resort
among people of taste and refinement.
Le Vaudeville is chiefly destined
for Vaudevilles and Comedies and its
reportoire includos “La Dame aux
Les Varietes is an excellent thea
tre. Vaudevilles, farces and such
Operettas as “La Grande Duchesse”
are performed here.
Theatre du Palais Royal is small
but a very popular theatre, where
Vaudevilles and farces of broad char
acter entertain the audience. The
acting is excellent and the pieces act
ed here are noted for their sallies of
genuine gallic humour.
There are numerous other theatres
well kept up and well attended, but
not so “recherche” as the ones I have
mention 1. Vou must come and see
There are two excellent things in
the world: the friendship of the
good, and the beauties of poetry.
Kings, women, and climbing plants
love those who are near them.
Women neither love nor hate: all
their searth is after new friends.