The Resources of Quinola | Page 2

the actors omitted the term during the remainder of the evening. This howl was raised by an audience of spectators who read in the newspapers every morning the title of the Duke of Vittoria, given to Espartero, and who must have heard of the title Prince of Paz, given to the last favorite of the last but one of the kings of Spain. How could such ignorance as this have been anticipated? Who does not know that the majority of Spanish titles, especially in the time of Charles V. and Philip II. refer to circumstances under which they were originally granted?
An admiral took that of /Transport-Real/, from the fact that the dauphin sailed with him to Italy.
Navarro was given the title /La Vittoria/ after the sea-fight of Toulon, though the issue of the conflict was indecisive.
These examples, and as many others, are outdone by that of the famous finance minister, a parvenu broker, who chose to be entitled the Marquis Insignificant (l'Ensenada).
In producing a work, constructed with all the dramatic irregularity of the early French and Spanish stage, the author has made an experiment which had been called for by the suffrages of more than one "organ of public opinion," as well as of all the "first-nighters" of Paris. He wished to meet the genuine public and to have his piece represented in a house filled with a paying audience. The unsatisfactory result of this ordeal was so plainly pointed out by the whole press, that the indispensability of /claqueurs/ has been now forever established.
The author had been confronted by the following dilemma, as stated by those experienced in such matters. If he introduced into the theatre twelve hundred "dead heads," the success secured by their applause would undoubtedly be questioned. If twelve hundred paying spectators were present, the success of the piece was almost out of the question. The author chose to run the risk of the latter alternative. Such is the history of this first representation, where so many people appeared to be made so uncomfortable by their elevation to the dignity of independent judges.
The author intends therefore to return to the beaten track, base and ignoble though it be, which prejudice has laid out as the only avenue to dramatic success; but it may not be unprofitable to state here, that the first representation of /The Resources of Quinola/ actually redounded to the advantage of the /claqueurs/, the only persons who enjoyed any triumph in an evening entertainment from which their presence was debarred!
Some idea of the criticism uttered on this comedy may be gained from the fact that out of the fifty newspapers, all of which for the last twenty years have uttered over the unsuccessful playwright the hackneyed phrase, "the play is the work of a clever man who will some day take his revenge," not one employed it in speaking of /The Resources of Quinola/, which they were unanimous in consigning to oblivion. This result has settled the ambition of the author.
Certain persons, whose good auguries the author had done nothing to call forth, encouraged from the outset this dramatic venture, and thus showed themselves less critical than unkind; but the author counts such miscalculations as blessings in disguise, for the loss of false friends is the best school of experience. Nor is it less a pleasure than a duty thus publicly to thank the friends, like M. Leon Gozlan, who have remained faithful, towards whom the author has contracted a debt of gratitude; like M. Victor Hugo, who protested, so to speak, against the public verdict at the first representation, by returning to witness the second; like M. de Lamartine and Madame de Girardin, who stuck to their first opinion, in spite of the general public reprobation of the piece. The approval of such persons as these would be consoling in any disaster.
LAGNY, 2 April, 1842.

PERSONS OF THE PROLOGUE
Philip II., King of Spain Cardinal Cienfuegos, Grand Inquisitor The Captain of the Guards The Duke of Olmedo The Duke of Lerma Alfonso Fontanares Lavradi, known as Quinola A halberdier An alcalde of the palace A familiar of the Inquisition The Queen of Spain The Marchioness of Mondejar

PERSONS OF THE PLAY
Don Fregose, Viceroy of Catalonia Grand Inquisitor Count Sarpi, secretary to the Viceroy Don Ramon, a savant Avaloros, a banker Mathieu Magis, a Lombard Lothundiaz, a burgess Alfonso Fontanares, an inventor Lavradi, known as Quinola, servant to Fontanares Monipodio, a retired bandit Coppolus, a metal merchant Carpano, a locksmith Esteban, workman Girone, workman The host of the "Golden Sun" A bailiff An alcalde Faustine Brancadori Marie Lothundiaz, daughter to Lothundiaz Dona Lopez, duenna to Marie Lothundiaz Paquita, maid to Faustine
SCENE: Spain--Valladolid and Barcelona
TIME: 1588-89

THE RESOURCES OF QUINOLA

PROLOGUE
SCENE FIRST
(The scene is laid at Valladolid, in the palace of the King of Spain. The stage represents the