Writer 1879: Solitary Journey in France

Chapter 195 A Twisted Public Opinion!

The day after the program for the Comédie-Française's Christmas performances was announced, Jules Claretti, the chief writer of the theater review section of Le Figaro, published a lengthy review entitled "A Christmas Adventure at the Comédie-Française".

The article questions Lionel's theatrical writing and the Comedy Theatre's programming:
Although Mr. Sorel has made his mark on the literary world with his novelistic talent, novels and plays are two completely different rivers—the former is a silent whisper between author and reader, while the latter is an immediate and shared breath with thousands of audience members.

The stage demands a more rigorous structure, stronger conflict, and a more rhythmic flow.

Is placing a brand-new play, untested in any small theater, directly into the Christmas season, competing with "The Misanthrope" and "Britannicus," an overly bold or even reckless adventure by the Comedy Theatre Arts Committee?

If this play fails, it could be an unbearable blow to Mr. Sorel, a rising star, and an unnecessary drain on the reputation of the comedy theater itself.

We do hope for miracles, but we wish they wouldn't turn into disasters. May our worries be unfounded.

Although Jules Claretti had previously had a legal battle with Lionel, in the realm of theater, he demonstrated objectivity, professionalism, and restraint, refraining from "settling personal scores" and instead expressing legitimate concerns.

Although Le Figaro holds a conservative stance, it is a "conservative" within the "republican" camp, close to the church but not subservient to the archbishop.

His attitude largely represents that of the middle class in Paris and even the whole of France.

The middle class is the main consumer group for theatrical performances.

Around the same time, *La Repubblica* also published a similarly worded commentary in its culture section, with a more direct title—"Blessings and Worries—Can Lionel withstand the test of the audience?"

On the one hand, the article expressed support for Lionel, a "comrade-in-arms" in education reform, but on the other hand, it was also full of concerns about the risks of crossing boundaries, emphasizing that "the success of drama requires more time to polish and experience to accumulate."

Even Le Petit Parisien, which serialized Lionel's "The Curious Case of Benjamin Buton," hinted in a short review that "a novelist's pen may not be able to easily handle the complex staging of the stage," suggesting that audiences "may have expectations, but it is best to lower them."

These newspapers, which usually support innovation, suddenly adopted a "mature and prudent" attitude, as if Lionel were not a writer who had proven himself with many works, but a piece of porcelain about to be shattered.

However, even more astonishing scenes occurred in newspapers considered strongholds of conservative opinion.

Three days after the program schedule was announced, the church-affiliated newspaper *The Universal* published a passionate commentary on its front page, with the headline:

Embracing New Voices: The Choir is a Miracle This Christmas!

The language of this article is almost as if it were possessed by a commentator from La Repubblica:

In this era of hope and change, the Comédie-Française has made an exciting decision! It has opened its doors to a young, vibrant, and talented writer, Mr. Lionel Sorel!
This fully demonstrates that our art community is not stagnant, but rather embraces truly valuable creations!

Following that, The Universal newspaper gave a slight "spoiler"—

Although we do not know the plot of "The Choir", reliable sources have revealed that it is a work that deeply explores redemption and spiritual growth, and its music has been praised for having "the power to strike the soul".

In a time of value confusion and moral turmoil, a work that aims to promote enlightenment and dispel the fog of confusion is like a breath of fresh air—exactly what our era needs!

Finally, *Il Universal* went so far as to directly encourage its readers and "subtly" criticize the conservatism of newspapers such as *La Repubblica*.

We urge all viewers who pursue truth and goodness and yearn to find spiritual solace in art not to miss this masterpiece that may set a precedent.

It is regrettable that some newspapers hold outdated prejudices and lack basic confidence in and encouragement for young talents.

True artistic vitality lies in innovation, in the courage to break free from conventions! Another highly influential newspaper, La Croix, used an even sharper headline—"The ravings of the opponents and the dawn of 'The Choir'."

The article fiercely criticized the "conservatism and pedantry" of media outlets such as Le Figaro:
We are surprised to see that some newspapers that have always considered themselves 'progressive' have now revealed their most stubborn conservative nature!
They fear new voices, question new attempts, and attempt to stifle all budding geniuses with the name of seniority and experience!

What a hypocritical and short-sighted act!

Equally indispensable are the high praise for Lionel and the encouragement for readers to see "The Choir":

Lionel Sorel's talent is undeniable; his works contain profound insights into human nature.

We firmly believe that "The Choir" will win over all well-meaning audiences with its unique artistic charm and profound spiritual connotation.

Let those critics hiding in their ivory towers continue their ramblings; the audience in Paris will make their own judgment!
Believers, head to the comedy theater to support this work that may carry divine glory!

.........

For several days, readers in Paris, holding their newspapers, felt a strong sense of disorientation.

"Am I still half asleep? When did Le Figaro become so old-fashioned?"

"My God, are Le Universal and Le Croix really cheering for a young writer? What's wrong with this world?"

Did they send the commentators' articles to each other by mistake?

In cafes and salons, similar confusion and banter are heard constantly.

This complete reversal of stance created an extremely comical contrast, which in turn greatly aroused the curiosity of ordinary people about "The Choir"—

What magic does this play possess that could drive the Parisian newspapers "crazy"?
------

The newspapers may not be crazy, but Sofia, who is in the Sorbonne, is really going crazy.

These past few days, the entire Sorbonne has been talking about Lionel and his "Chorus," with everyone trying to pry something out of him.

Sofia simply took a day off—she couldn't stand having her ears filled with the name "Lionel."

As she was drinking alone in her luxurious mansion, Louis Alphonse suddenly approached her and said, "Sophia, I have a way to completely ruin the premiere of 'The Choir'."

It could even turn Lionel into a joke!

Sofia's eyes lit up: "What's the solution? Tell me quickly."

Louis-Alphonse looked hesitant and troubled: "This method is probably a bit too expensive..."

Sofia smiled dismissively: "Don't talk to Sherbatov about how expensive it is..."

(End of this chapter)