The day after the Comédie-Française's Christmas performance program was announced, Jules Claretie, chief drama critic of Le Figaro's drama review section, published a lengthy commentary titled "The Comédie-Française's Christmas Adventure."
The article questioned Lionel's playwriting and the Comédie-Française's program arrangement:
[Although Monsieur Sorel has made a name for himself in literary circles with his talent for novels, novels and plays are two completely different rivers – the former is the silent whisper between author and reader, while the latter is the immediate, shared breath with hundreds of audience members below the stage.
The stage demands a more rigorous structure, more intense conflicts, and a more rhythmic pace.
Is placing a brand-new play, untested in any small theater, directly in the Christmas season, to compete for glory on the same stage as The Misanthrope and Britannicus, an overly bold, even rash, adventure by the Comédie-Française's artistic committee?
If this play fails, for Monsieur Sorel, this rising star, it would likely become an unbearable blow, and an unnecessary drain on the Comédie-Française's own reputation.
We are not saying we don't expect miracles; we just hope miracles don't turn into disasters. May our concerns be unfounded.]
Although Jules Claretie had previously engaged in a war of words with Lionel, in the realm of drama, he demonstrated his objectivity, professionalism, and restraint, not "settling a personal score," but rather expressing reasonable concerns.
While Le Figaro holds a conservative stance, it represents "conservatism" within the "republican faction," being close to the church but not obeying the archbishop.
His attitude largely reflected that of the middle class in Paris and indeed all of France.
The middle class, after all, constitutes the primary audience for theatrical performances.
Almost at the same time, La République also published similarly worded comments in its culture section, with an even more direct title – "Blessings and Worries – Can Lionel Withstand the Audience's Test?"
On the one hand, the article expressed support for Lionel, its "comrade-in-arms" in educational reform, but between the lines, it was also full of worry about the risks of crossing over, emphasizing that "the success of drama requires more time for refinement and the accumulation of experience."
Even Le Petit Parisien, which had serialized Lionel's The Adventures of Benjamin Budong, hinted in a short commentary that "a novelist's pen may not easily master the complex staging of the theater," advising audiences that "they might be able to look forward to it, but it's best to lower their expectations."
These newspapers, which typically supported innovation, now, almost in unison, adopted a "seasoned and cautious" posture, as if Lionel were not a writer who had already proven himself with multiple works, but a piece of porcelain about to shatter.
However, an even more astonishing sight occurred in newspapers considered strongholds of conservative public opinion.
L'Univers, with its church background, published an enthusiastic commentary below its front page on the third day after the program was announced, the title of which prominently read—
"Embrace the New Voice, 'The Choir' is the Miracle of This Christmas!"
The rhetoric of this article was practically as if possessed by a commentator from La République:
[In this era full of hope and change, the Comédie-Française has made an inspiring decision! It has opened its doors to Monsieur Lionel Sorel, a young, vibrant, and talented writer!
This fully proves that our artistic temple is not stuck in its ways, but is eager to embrace truly valuable creations!]
Following this, L'Univers offered a slight "spoiler"—
[Although we are not privy to the plot of The Choir, according to reliable sources, this is a work that profoundly explores redemption and spiritual growth, and its musical elements are praised for possessing "the power to touch the soul."
In a time of confused values and moral concerns, a work like this, aiming to promote light and dispel the mists, is precisely what our era needs, like a clear stream!]
Finally, L'Univers directly incited its readers and "tactfully" criticized the conservatism of newspapers like La République—
[We call upon all audience members who pursue truth and goodness and yearn to find spiritual solace in art not to miss this masterpiece that may set a new trend.
Certain newspapers cling to outdated prejudices, lacking basic confidence and encouragement for young talent; such rhetoric is undoubtedly regrettable.
The true vitality of art lies in innovation, and in the courage to break free from convention!]
Another highly influential newspaper, La Croix, used an even sharper title – "The Raving of Opponents and the Dawn of 'The Choir'."
The article fiercely attacked the "conservatism and pedantry" of media outlets like Le Figaro:
[We are surprised to see certain newspapers, which habitually claim to be 'progressive,' now revealing their most stubborn conservative core!
They fear new voices, question new attempts, trying to stifle all nascent talent in the name of seniority and experience!
What a hypocritical and short-sighted act!]
Equally prominent were lavish praises for Lionel and encouragement for readers to go and see The Choir:
[Monsieur Lionel Sorel's talent is evident to all; his works contain profound insights into human nature.
We firmly believe that The Choir, with its unique artistic charm and profound spiritual meaning, will conquer all well-intentioned audience members.
Let those critics hiding in their ivory towers continue their ravings; the audience of Paris will make their own judgment!
Believers, go into the Comédie-Française and support this work that may carry divine glory!]
———
For several days, Parisian readers, holding their newspapers, all felt a strong sense of bewilderment.
"Am I still dreaming? Since when did Le Figaro become so old-fashioned?"
"Good heavens, L'Univers and La Croix are actually rallying support for a young writer? What on earth is happening to this world?"
"Did they send their commentators' drafts to the wrong newspapers?"
In cafes and salons, similar confusion and banter were incessant.
This complete reversal of stances created an extremely comical contrast, which instead greatly stimulated the general public's curiosity about The Choir—
What magic does this play possess that could make all the Parisian newspapers collectively "go mad"?
——————
The newspapers might not have gone mad, but Sophia, at the Sorbonne, was truly going mad.
For the past few days, the entire Sorbonne had been talking about Lionel and his The Choir, and everyone wanted to pry something out of him.
Sophia simply took leave – she couldn't bear her ears being filled with the name "Lionel."
Just as she was drowning her sorrows with wine in her luxurious mansion, Louis-Alphonse suddenly approached:
"Sophia, I have a way to completely sabotage The Choir's premiere. I can even make Lionel a laughingstock!"
Sophia's eyes lit up:
"What's the plan? Tell me quickly."
Louis-Alphonse showed a hesitant, troubled expression:
"This method, I'm afraid, might be a bit expensive..."
Sophia scoffed with a smile:
"Don't talk about expensive to a Scherbatov..."
(End of Chapter)
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