1773. Mary Russell Mitford to EBB
As published in The Brownings’ Correspondence, 9, 247–248.
Three Mile Cross,
Nov. 28, 1844.
My dear Love,
I should like to have known Madame d’Abrantes, that is, if she had not been too rich and high a lady; for my adoration of Napoleon, which increases every day, is so borne out by the testimony of one who had such opportunities of knowing him, that it is a most satisfactory and comfortable thing to read all that she says on that subject. Think how he would have enjoyed Balzac! I am sure he would—just as we do. By-the-way, old Mr. Shoberl [1] (the excellent translator of “Notre Dame”) says he does not think Balzac would suit the taste of the English. The fact is, that there is great peculiarity in the manner as well as matter of Balzac; and it is necessary to learn the character of his style, fine as that style is, just as it is necessary to master a difficult handwriting before enjoying the letters of a correspondent. Also I doubt whether Balzac be not too good for the taste of English novel readers. Every now and then I find people talking of poor Miss Pickering, as I should talk of Miss Austen or of Scott—persons of sense and education, and high station. And the taste for Mrs. Howitt’s translations of Fredrika Bremer (always begging your pardon) seems to me an indication of the same sort. [2]
By-the-way, if I were not so old and stupid and lazy, I should like to try my own hand at translating Balzac, and see if I could not put one of his novels into such English as should give some faint idea of his French. This is not so vain as it seems; for I should try, by the closest adherence to his vivid and coloured language, to produce an almost Chinese copy of this great original; and any person tolerably familiar with prose composition might do this by taking proper pains. Such a translation, giving to it great labour, might, I think, succeed. I do not mean merely sell, but might do justice to the manner of the author. This, however, would require an experienced English writer. Dearest love, what works of Casimir Delavigne have you read? Surely not his plays! I have read “Louis the Eleventh,” “Marino Faliero,” “Les Enfans d’Edouard,” “Don Juan d’Autriche,” “La Popularité,” “La Fille du Cid,” “Une Famille du temps de Luther,” forming the second and third series of his “Théâtre.” [3] To me they seem full of talent; striking the just medium between the slowness and dullness of what they call the classical drama (I agree with you that is a gross misnomer) and the unnatural and exaggerated contrasts and surprises of Victor Hugo, who strives after effects until he forgets that a true effect should be something perfectly natural—happening at an unexpected moment—or brought about in a striking manner; but always something natural—something that we all feel to be true. Now, nobody can say that of Victor Hugo’s later plays especially; witness “Ruy Blas.” [4] Do read Delavigne’s plays, pray do. Let me have a conversion to boast of, as you have had in the case of Balzac. (N.B. I don’t mean to say that M. Delavigne is as great a man as Balzac; but of a surety he is no common dramatist, and his comedies are of the high serious comedy, like “Le Misanthrope” carved in marble.) [5] I like that Alexandre Dumas! “Christina” is a clever drama; [6] but his verse is inferior to Casimir Delavigne’s, whose wife was a protége of Josephine and Hortense. [7] Heaven bless you, dearest love!
Ever yours,
M.R.M.
Text: L’Estrange (2), III, 185–187.
1. L’Estrange published this name as “Robert,” evidently misreading Miss Mitford’s handwriting. The Catalogue of the British Library lists a translation by Frederic Shoberl in 1833 of Hugo’s novel.
2. See the following letter, note 1.
3. Miss Mitford refers to the following works by Delavigne: Louis XI (1832), Marino Faliero (1829), Les Enfants d’Édouard (1833), Don Juan d’Autriche, ou la Vocation (1835), La Popularité (1838), La Fille du Cid (1840), Une Famille au temps de Luther (1836), Théâtre (1825). We are unable to clarify the reference to a “second and third series” of Théâtre.
4. Ruy Blas (1838).
5. The reference is to the comedy by Molière, and Delavigne’s practice of writing in the classical French style of the late seventeenth century.
6. Stockholm, Fontainebleau et Rome, Triologie dramatique sur la vie de Christine (1830).
7. Elisa de Courtin (1792–1863), lady-in-waiting to Queen Hortense of Holland, had been involved with the latter’s brother, Eugène de Beauharnais, son of Alexandre de Beauharnais and his wife Josephine (later Empress Josephine). In 1830 Elisa married the poet and playwright Casimir Delavigne.
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