Writer 1879: Solitary Journey in France

Chapter 174 The Brothel, I found him in the brothel!

"So, you're going to write a play this time?" Maupassant asked Lionel curiously.

Lionel nodded: "Yes, a five-act play. Based on the current concept, it's roughly a light comedy."

It was 11 a.m., and the two were in a small café on Rue Saint-Dominique in the 6th arrondissement of Paris.

Upstairs is Maupassant's residence in Paris, with the Seine River winding by and a view of the dome of Les Invalides. The scenery is quite beautiful.

Maupassant's apartment, filled with testosterone and cheap perfume, was a veritable disaster for human health and was hardly suitable for outsiders to set foot in.

Only after Lionel's repeated insistence did he hastily put on his clothes while still hungover and follow Lionel downstairs.

Regarding the "cooperation" with the church, Lionel had two options, and the one he consulted with Maupassant was the "best option."

Maupassant perked up: "Oh? That's wonderful, Lionel! You're finally getting into theater! Can you tell me what kind of story it is?"

I think your several short stories—"The Old Guard," "Letter from an Unknown Woman," and "Old Man Milon," which you talked about in Meitang last time…

Both are suitable for adaptation into plays. Haha, I think "The Old Guard" and "Old Man Milon" are the most suitable! One is tragic, the other is heroic!

For French writers, there are only two pinnacles of creation: becoming a poet or a playwright.

Of course, a genius like Hugo can possess both.

Poets were darlings of the court, salons, and noblewomen, while playwrights were an important stepping stone to wealth.

For every play written by the playwright that is performed in the theater, the playwright can receive a share of the box office revenue ranging from 2% to 10%.

Both Alexandre Dumas père and Alexandre Dumas focused on adapting their novels into plays after achieving success—Dumas fils even became a full-time playwright.

Lionel shook his head: "Neither. This time I want to write a completely new story—but I haven't fully figured it out yet, and I need some help."

By the way, speaking of "Old Man Milon"... why hasn't our collection "Meitang Night Meeting" been published on "Charpentier's Bookshelf" yet?

This isn't like Mr. Charpentier at all!

Maupassant blushed and stammered, "My 'Boule de Suif'... I haven't given it to him yet... I swear to God, I've tried my best!"
But as I went from telling the story to writing it into a novel, I realized I had so much to add... I have to work during the day, and I rarely have free time in the evenings..."

Lionel was speechless.

Two and a half months have passed since the "Meitang Night Meeting" in early July, and I had already sent "Old Man Milon" to Mr. Zola in early August.

Maupassant hadn't even finished "Boule de Suif" yet...

Looking at his haggard-looking friend, he sighed, "Guy, this is a great opportunity; you must cherish it. Of the seven stories, yours is the best!"

Encouraged, Maupassant hurriedly replied, "Yes, yes, I will do my best to deliver the manuscript to Émile by the beginning of next month at the latest."

Let's get back to your play—what do you need me to do for you?

Lionel took a sip of his coffee and smiled: "I hope my play can be performed at the Comédie-Française."

Maupassant's eyes lit up: "Ha, the Comedy Theatre? Léon, you have big ambitions! You want your very first work to be performed in the Comedy Theatre!"
Emil Perrin is known for his high standards; almost no newcomers can gain his favor!

Émile Perrin was the director of the Comédie-Française, and also a well-known painter and critic.

Maupassant once submitted his play to Émile Perrin, only to be rejected.

Lionel nodded: "We have to try—if we get rejected, we'll try another one that's less well-known."

I don't think I'm that bad; there will always be theaters willing to take my scripts.

Maupassant then looked puzzled: "So..."

Lionel waved his hand: "I want to finish this script as soon as possible; my efforts alone are far from enough—"

Especially the music; I need a musician willing to set aside their status and collaborate with me to compose the music in the shortest possible time.

The drama of this era had not yet completely broken free from the influence of opera; even pure dramas that were mainly based on dialogue contained a large number of musical elements.

For example, adding a chorus performance or background music during the prologue or transitions; and requiring certain characters to sing solos when expressing emotions.

Lionel, in writing "light comedies," needed to use music to create atmosphere. Typically, after completing the script, the playwright would hand it over to a musician to compose music.

However, this process is very long – excellent musicians often have a large number of script and score orders, while newcomers may have to wait for six months or a year.

Maupassant asked curiously, "When do you plan to submit the script to Émile Perrin?"

Lionel hesitated for a moment before answering: "I hope to finish the script by November and then hand it over to the Comedy Theatre for a month and a half of rehearsals."

If all goes well, it can be performed during the Christmas holidays.

Maupassant was so shocked he almost jumped out of his chair: "Are you crazy? Or am I hallucinating? Damn it, Léon, you've got syphilis too?"

It's almost the end of September, and even if it were written by Victor Hugo, it would be difficult for a new play that hasn't even been drafted yet to be performed at Christmas!

Lionel shook his head: "I'm not crazy, and you heard me right—I don't have syphilis!"

Maupassant smacked his lips, a look of regret on his face: "Léon, your biggest problem is that you don't have syphilis, which limits your imagination..."

Lionel: "..."

Fortunately, Maupassant didn't dwell on the topic and started counting on his fingers: "Even if you can finish the script before November—"

First, it needs to be submitted to the comedy theater for review, which will take at least two weeks; then it needs to be submitted to the police station's "Culture Section" for review, which will also take at least two weeks.

Then comes the actors' rehearsals, and a five-act play takes at least four to six weeks—you still say you're not crazy?

To find out what will be performed for Christmas, the comedy theater might already have finalized its program!

Lionel laughed: "The comedy theater and the police station will take care of things for me... but I have to ensure the performance goes well, so the musician is very important."

Although Maupassant didn't know what gave Lionel the confidence, since he had said so, as a friend, he could only support him.

Maupassant had another question: "Why not Emile, or the teacher? They knew far more musicians..."

Lionel patiently explained: “Emile and Mr. Flaubert know famous people. Where would they find the time to spare a month for me?”
What I need are talented musicians who haven't yet made it big—Guy, you know the most people like that!

Maupassant: "..."

Lionel continued to add to the stakes: "You can tell him I'm willing to pay a generous price for it. For example... 200 francs a month, or even more."

As long as he serves me wholeheartedly throughout October!

Upon hearing that it would cost 200 francs a month, Maupassant's mouth watered, and he wished he could take the job himself.

He readily agreed: "Money talks! No problem, leave it to me!"

Sigrún has taught at the Iceland University of the Arts as a part-time lecturer since and was Dean of the Department of Fine Art from -. In – she held a research position at Reykjavík Art Museum focusing on the role of women in Icelandic art. She studied fine art at the Icelandic College of Arts and Crafts and at Pratt Institute, New York, and holds BA and MA degrees in art history and philosophy from the University of Iceland. Sigrún lives and works in Iceland.

Maupassant was very efficient.

The next day, he wrote to Lionel to meet him at the café downstairs from his house.

When Lionel arrived at the café, he saw Maupassant chatting with a tall, thin boy and couldn't help but frown.

He wanted a talented, down-on-his-luck musician, not some hothead.

But since he was already there, he had no choice but to bite the bullet and go over to greet the two of them.

Maupassant pulled the boy in front of Lionel: "This is the person you're looking for, Lionel. I found him in the 'Rose House' in the seventh arrondissement..."

Lionel frowned: "A brothel?"

Before Maupassant could explain, the boy blushed and quickly added, "Mr. Sorel, I was playing the piano there to earn some pocket money..."

Lionel remained skeptical, but didn't press further: "Oh... what's your name?"

The boy pursed his lips and clearly stated his name: "Debussy, sir, Achille-Claude Debussy."

(End of this chapter)