Writer 1879: Solitary Journey in France

Chapter 317 How to die is a difficult question!
In the 19th century, traveling to Russia in January, even to a major city like St. Petersburg, was a tremendous challenge for anyone.

Even Turgenev, a native Russian, usually only went back in the spring and returned to Paris in the autumn.

However, if the premiere is delayed until spring, the performance of "Thunderstorm" will miss the peak season, which will greatly reduce both box office revenue and influence.

If I ask someone else to go, I doubt I can clearly explain his requirements, and I'll probably have to make another trip myself.

The "Yablochkov candle" is key to solving the problem of high-intensity stage lightning effects.

Tesla excelled in system design and control, while Yablochkov possessed the core expertise in specific light sources.

Without a suitable "light bulb," even the best circuit is useless.

The hesitation lasted only a short time.

Lionel knew that to realize his vision of "Thunderstorm," he needed to have access to the best technical resources, wherever they might be.

He made up his mind to go to St. Petersburg.

He first wrote a short letter to Émile Perrin, informing him that he needed to leave Paris briefly to find key technical support for the theater's renovation.

Then he explained the situation to Sophie and Alice.

Alice's worry was evident: "You're going to Russia? In winter? I've heard it's so cold there your ears can freeze off. And it's so far away..."

Sophie was more practical; she knew Lionel had made up his mind: "Be careful on the road, Lionel. I'll help you pack."

Also, the 'Orby Trading Company' has a dedicated route to St. Petersburg and an office; you can contact them if you need help.

Many of our typewriters and bicycles came through 'Orby's' channels; you're their cash cow now..."

As Sophie spoke, she wrote down the contact information for the St. Petersburg office of "Orbi Trading Company" on a sticky note for Lionel.

Lionel put away the note and nodded: "Thank you, Sophie, this is very helpful."

Then he looked at Alice and Petty: "Don't worry, I'll be back as soon as possible. Please take care of things in Paris."

When Patty heard that the young master was going on a long trip to a place "where there is snow and bears everywhere," her little face was filled with anxiety, but she was also the most helpless one.

However, as Debussy said, after winter sets in, there is only one train a week to Russia.

This time, Lionel didn't mince words and booked the most expensive seats and sleeper berths, complete with heating pipes and attendants to provide tea, blankets, and luggage.

He didn't want to die before he even got started.

However, during the break before departure, he also worked hard to improve the script of "Thunderstorm".

He first discarded the "prologue" and "epilogue" sections of the original play "Thunderstorm".

These two sections depict events many years after the main story of "Thunderstorm" ended, when Zhou Puyuan had already donated his mansion to a church to be used as a hospital.

Fanyi and Shiping, who had gone mad, were fostered in this hospital and cared for by the nuns of the church.

The story begins and ends with a brother and sister led in by a nun, and their curiosity and discussion about two madwomen.

Mr. Cao Yu designed these two scenes mainly to distance the audience from the story of "Thunderstorm" and prevent them from being shocked and unable to accept it.

For Chinese audiences in the early 20th century, the disruption of ethical norms in "Thunderstorm" was revolutionary.

Therefore, it is necessary to use a prologue and epilogue to veil the entire play, allowing the audience to be at a suitable viewing distance.

This also makes the entire play too long, with performance times sometimes exceeding four hours. Therefore, most performances do not include these two acts.

Parisian audiences certainly didn't need this kind of psychological buffer, so Lionel simply abandoned those two acts as well, making the story more concise and compact. Another difficult aspect of "Thunderstorm" was the ending of "Sifeng" and "Zhou Chong," who were electrocuted in the courtyard after accidentally touching a broken power line.

Although Lionel installed electric lights in his summer villa, for most French people, the idea of ​​being electrocuted was still a novelty.

This scene is narrated through the mouth of "Lu Gui". If most viewers are unaware of the common knowledge that "electricity can kill", it will definitely cause confusion and discussion.

This will divert the audience's attention, which is a major taboo in performances.

However, it's also inappropriate to change it to two people being struck by lightning and killed, as that would be too religious and would evoke the image of God destroying Sodom with lightning.

Lionel is caught in a dilemma...

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A week later, on January 20, Lionel boarded a train bound for St. Petersburg at the St. Lazar train station.

Thanks to his ample budget, he booked first class and sleeper berths for the entire journey, which greatly reduced the hardship of the long journey.

The carriages were warmly heated, and waiters provided attentive service; the food served in the dining car was also quite delicious.

He spent most of his time in his private box, continuing to polish the script of "Thunderstorm".

The train rumbled forward, and the scenery outside the window kept changing.

On the first day in France and Germany, the fields and towns still retained the vitality of Western Europe.

We arrived in Berlin the next morning, transferred to a train bound for Warsaw, and the scenery outside the window gradually became vast and desolate. We arrived in Warsaw that night.

Here, the train stops for a long time to change to a broad gauge chassis suitable for Russia.

On the morning of the third day, the train finally arrived at Vilnius, the first major Russian city.

The weather had turned extremely cold, and Lionel noticed that the staff on the platform were all wrapped in thick fur coats, their breath instantly turning into frost.

Outside the window stretched an endless snowfield, a vast expanse of white, with only occasional snow-covered villages and dark forests passing by, making the world seem exceptionally desolate.

The train stops here to refuel and replenish supplies, and the biting cold seems to penetrate the walls of the carriages.

On the morning of the fourth day, after a long journey, the train finally slowly pulled into Nikolayev Station in St. Petersburg.

The sound of wheels rubbing against the rails gradually subsided, and a long whistle broke the silence of the winter morning.

Lionel packed his luggage, put on his thickest coat, a mink scarf around his neck, and a bearskin hat on his head, and shakily stepped off the train.

A biting cold wind suddenly hit him, causing him to shiver involuntarily.

The platform was bustling with people, filled with the smell of coal smoke and steam.

He was about to look for signs or hire a porter when his eyes were drawn to a scene not far away.

A tall Russian man wearing a furry hat is holding up a sign written in both Russian and French, which clearly reads:

"Welcome, Mr. Lionel Sorel!"

This unexpected scene stunned Lionel.

He had no acquaintances in St. Petersburg, and Yablochkov's telegram made no mention of anyone picking him up at the station.

Turgenev had no idea he would come to St. Petersburg. Could it be Sofia? How did she know?
Leonard felt a chill run down his spine...

(This concludes the third update; more updates will begin tomorrow.)
(End of this chapter)