Shadow of great britain

Mendelssohn jumped out of the carriage, and Liszt followed him out.

Before he even reached Arthur, Mendelssohn couldn't wait to tell Arthur about the various adventures that happened during his trip to Paris.

When Mendelssohn and Liszt arrived in Paris, they first went to find Heine.

Everyone knows that although Heine has only moved to Paris for a few years, he has already become famous in the literary and artistic criticism circle in Paris. However, his reputation in Paris is not all positive, which can be seen from his grievances with Liszt.

In addition to Liszt, Heine also had a bad relationship with Dumas' old friend Winnie. In "On Romanticism", which Heine had just delivered to the editorial department of "The Brit", although this guy was criticizing French romantic literature on the surface, he was actually making fun of Winnie for indulging in a lyrical and exaggerated writing style.

In addition, his relationship with his German fellow countryman Platten was equally bad. Heine said that Platen was a lover of ancient Greece and a member of the modern Theban Sacred Army. If someone who didn't know the inside story heard this, most people would think that Heine was praising Platen.

But in fact, anyone who knows a little about Greek history knows that this guy is actually hinting that Platen has homosexual tendencies. Because the Theban Sacred Army in ancient Greece was composed of 150 homosexual couples.

However, although this guy's mouth is as vicious as ever, he still values ​​his golden friendship with his old friend Arthur.

Especially when Mendelssohn handed over Arthur's handwritten letter to Heine, the face of this German poet who has always been cynical actually shone with the pious light of a saint.

Perhaps the moment when he saw Arthur's handwritten letter and the check in the letter was the happiest time for Heine in the past one or two months.

Since Arthur left Paris, Heine's life has immediately become difficult.

He first fell out with his old friend of more than ten years, Bernard, who was also a Jewish German nationalist, because he accepted funding from the French government.

Bernard scolded Heine for being shameless, saying that accepting funding from the French government violated the bottom line of being a German.

Heine also sneered at Bernard, accusing him of being a patriot, but also a narrow-minded petty-bourgeois radical.

Later, Heine may have felt that he had to justify the fact that he accepted funding from France, so he wrote this sentence in a new poem-where there are people who set fire to books, there will be people who set fire to people in the end.

If this sentence was placed in Paris at ordinary times, it might not be a big deal.

But the problem is that the July Monarchy government is currently using the assassination case at the Kedous Mansion to intensify the review of publications, and Heine's words at this time will certainly attract their attention. Because this sentence easily makes people think that Heine is secretly poking at their recent work.

Moreover, people who are familiar with Heine know that this poem actually does not need to be associated with much. Heine is actually criticizing France's recent book and newspaper censorship system.

However, due to Heine's international reputation, the French government is not good at making things difficult for this great poet who is famous in Europe. But secretly, they can still force Heine to shut up by not distributing grants on time and telling many newspapers in Paris not to use Heine's articles.

Otherwise, even if Heine was thick-skinned, he would not send another letter to Arthur for help right after receiving the remuneration for "On Romanticism".

Arthur solved Heine's urgent need, so he naturally had to help Arthur.

As soon as Heine received the letter, he immediately led Mendelssohn and others to the Italian Theater in Paris.

When the people of the Italian Theater saw Heine and Mendelssohn coming to visit in person, they immediately patted their chests and told them that they could ask for any actor they wanted to borrow.

However, when Mendelssohn said he wanted to borrow Giovanni Rubini, the Italian Theater immediately backed out.

The theater staff first apologized to the guests, and then politely informed them that any actor in the theater could be borrowed, but Giovanni Rubini could not. Because this first tenor in Europe is the pillar of the Italian Theater, and he is also the exclusive actor of the theater manager Mr. Rossini.

The Italian Theater's signature operas "Cinderella", "Otello" and "Lady of the Lake" were all performed by Rubini at the premiere. Although these repertoires are not new now, the audience can accept other male actors.

But unfortunately, news of the uprising of the northern Italian states came from Paris recently. This news made Mr. Rossini, who is Italian, very excited, so he is re-arranging the opera "William Tell" adapted from Schiller's poem of the same name.

"William Tell" tells the story of William Tell, a Swiss independence hero. Mr. Rossini hopes to inspire Italy's revolutionary enthusiasm through this opera at this moment.

Therefore, this play must be performed by Giovanni Rubini.

Moreover, even if Mr. Rossini's wishes are not mentioned, Rubini is also an Italian, and he himself also hopes to be able to perform "William Tell" at this moment.

Heine and Mendelssohn were disappointed when they heard the news, but they also knew that they could not force others in such matters.

However, although they hit a wall with the Italian theater, Heine soon came up with a new solution.

In Paris today, there are three great tenors on the opera stage, Giovanni Rubini, Adolphe Nouri and Gilbert Dupre.

Since Rubini is not an option, why not try to invite Nouri and Dupre?

Among them, Nouri once met Arthur.

When Arthur, Dumas, Heine and Andersen were dining at the Vaele Hotel, they ran into Nouri who was meeting with Mazzini and Garibaldi.

However, since Heine and Nouri were not very familiar with each other, Heine naturally led Mendelssohn and others to Dumas.

Dumas had fought side by side with Nouri during the July Revolution of 1830, so there was some revolutionary friendship between the two.

In addition, since Dumas opened the theater, the two had economic ties, so Heine naturally thought that with Dumas's relationship, he could probably deal with Nouri.

At Heine's suggestion, the group rushed to Dumas's sole proprietorship theater on Temple Avenue - the Historic Theater.

According to Mendelssohn, when they broke into the backstage of the theater, this guy was slumped in a chair and flirting with his recently promoted actress, Miss Marie Dolores.

Dumas was frightened when he saw everyone coming, but the black gentleman who was used to big scenes quickly regained his usual calmness.

He warmly entertained the visiting friends and said that he had recently hired three chefs. Since everyone was here, don't rush to leave, and go to his house for dinner tonight.

After Mendelssohn explained his purpose to Dumas and told him the love story of Mr. Schumann and Miss Vick, Dumas cheered and said that this was simply a modern version of "Romeo and Juliet", and if he could be of any use to him, just make a request.

When Dumas heard that he was needed to contact Nouri for assistance, he told everyone that Nouri had left Paris in a hurry after performing the ballet "La Sylphide" at the Historical Theater last night.

Dumas originally planned to invite Nouri to dinner, but he was rejected by him. According to the chief tenor of the Paris Opera and professor of tragic lyric performance at the Paris Conservatory of Music, his cousin in Montpellier was getting married in a few days, so he had to hurry back to attend the wedding.

But Dumas joked that he would not believe Nouri's lies, and he also asked Heine if he remembered what he saw when he and Arthur had dinner at the Vaele Hotel that day. Nouri was involved with Young Italy, and the time he went to attend the wedding coincided with the time of the uprising in Italy. Who knows, this guy might actually be escorting ammunition for Young Italy.

Dumas's words can't be said to be speculation, because Nouri has a long history in this regard. Not only did he participate in the July Revolution with Dumas, and sang the "Marseillaise" while defending the barricades during the revolution, but the Belgian Revolution in 1830 was also closely related to Nouri.

On August 24, 1830, the eve of the outbreak of the Belgian Revolution, Nouri was performing the premiere of "The Dumb Girl of Portici" in Brussels, the capital of Belgium. In that scene, Masaniello, played by Nouri, had a duet called "Amour sacré de la patrie" (Sacred Love of the Motherland).

Because Nouri was too devoted to his singing, or perhaps because he did it on purpose, this duet successfully aroused strong resonance among the audience, especially the patriotic feelings contained in it. During the performance, the audience began to get restless, and after the performance, this restless mood quickly evolved into anger against the Dutch, the overlords of Belgium.

These audiences spread such emotions throughout Brussels, like a spark on the grassland, which became a prairie fire overnight.

Although it is a bit exaggerated to say that Nouri caused the Belgian Revolution, the chief tenor of the Paris Opera House definitely played a role in igniting the powder keg.

Dumas analyzed Nouri's whereabouts to Heine and others in a very logical way, but as he was talking, the fat black man was suddenly stunned. He realized that something was wrong at this time.

Italy had revolted, and Young Italy had a revolution. Nouri participated in such a big event. Why did he, Alexandre Dumas, still sit and wait for death in Paris?

Dumas hurriedly wanted to see him off, but everyone present saw what the fat man wanted to do.

Everyone persuaded him together, but no one could persuade him.

That afternoon, Dumas arranged the work of the Historical Theater for the next few days, and then got on the carriage and planned to go south to Italy to the Kingdom of Sardinia-Piedmont.

Heine saw that he wanted to die, so he jumped on his carriage, and Mendelssohn and Liszt also came to help.

But Dumas was obviously prepared. He not only went by himself, but also invited three new cooks.

Perhaps because of his learning in Scotland Yard, Dumas carefully planned to tie up Heine, Mendelssohn and Liszt.

However, he did not intend to capture the three friends, but waited until the carriage left Paris and then found a country inn to put them down, in case these guys wanted to ruin his good deeds again.

But what everyone did not expect was that not long after the carriage left Paris, when they passed the first village, they ran into the tenor that everyone was obsessed with - Mr. Adolphe Nouri.

Dumas jumped off the carriage to greet him and asked Nouri about the Italian Revolution.

The dusty Nouri was shocked by Dumas' question and asked him to speak in a low voice.

Then he pointed to his carriage and whispered a few words in Dumas' ear.

In just a moment, everyone saw that the excited smile on Dumas' face disappeared, replaced by an indescribable solemnity.

Dumas had a brief exchange with Nouri, then jumped back into the carriage and told Heine and the others that he would not go to Italy this time, but would go to Göttingen with them.

The road was bumpy, and no matter how everyone asked, Dumas didn't say a word.

It was not until the carriage passed Prussia and entered the Kingdom of Hanover that Dumas confessed to them: "The Italian Revolution failed. Mr. Nouri's car was filled with several members of the Young Italy he rescued from the border. Heinrich, you know one of them. Do you remember the name Giuseppe Garibaldi? We had dinner together, and he drank with me, Louis, and Arthur."

At this time, everyone understood what had happened.

But for Heine, traveling with the members of the Young Italy was not the worst.

The worst thing was that this poet who was banned by Prussia and Austria was actually brought back to Germany by the damn Dumas.

Although the Kingdom of Hanover would definitely not arrest him, Heine's little heart had never been at ease on the way to Göttingen.

Arthur's eyes widened when he heard this. He lowered his voice and asked, "You are just fooling around! Where are Heinrich, Alexander, and those people from Young Italy now? Are they not in your car?"

Mendelssohn also knew that this matter was a little hard to accept. He smiled shyly and said, "Sorry, Arthur, we didn't expect things to develop like this. But don't worry, we hid them well. They live in the hotel next to the Göttingen Police Station."

Fiona covered her mouth and said, "Next to the police station? You didn't believe the nonsense that the more dangerous the place, the safer it is, right?"

Arthur gritted his teeth and cursed, "Needless to say, this bad idea must have come from that bastard Alexander. Felix, take me to see them quickly!"