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Raspberry Pi The Complete Manual 7th Edition Coll.
Digital Instant Download
Author(s): coll.
ISBN(s): 9781785463709, 1785463705
Edition: 7
File Details: PDF, 10.65 MB
Year: 2016
Language: english
 W
NE

Raspberry Pi
The Complete Manual
The independent handbook for all Raspberry Pi users

25+
projects
inside
 Welcome to
Raspberry Pi
The Complete Manual
The Raspberry Pi is one of the most exciting things
to happen to computers in recent years. As an
educational tool, this tiny PC has reignited interest in
bare-metal computing in schools. As a platform for
open-source software, it has also inspired millions
of people to try Linux – many for the irst time.
Most exciting of all is the potential to incorporate
the device into practical projects, as demonstrated
by the tutorials in this newly revised edition of
Raspberry Pi The Complete Manual. So grab your Pi
and get creating!
Raspberry Pi The Complete Manual
Imagine Publishing Ltd
Richmond House
33 Richmond Hill
Bournemouth
Dorset BH2 6EZ
 +44 (0) 1202 586200
Website: www.imagine-publishing.co.uk
Twitter: @Books_Imagine
Facebook: www.facebook.com/ImagineBookazines

Publishing Director
Aaron Asadi

Head of Design
Ross Andrews

Editor in Chief
Jon White

Production Editor
Fiona Hudson

Senior Art Editor

Greg Whitaker

Assistant Designer
Steve Dacombe

Photographer
James Sheppard

Printed by
William Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT

Distributed in the UK, Eire & the Rest of the World by

Marketforce, 5 Churchill Place, Canary Wharf, London, E14 5HU
Tel 0203 787 9060 www.marketforce.co.uk

Distributed in Australia by
Gordon & Gotch Australia Pty Ltd, 26 Rodborough Road, Frenchs Forest, NSW 2086, Australia
Tel +61 2 9972 8800 www.gordongotch.com.au

Disclaimer
The publisher cannot accept responsibility for any unsolicited material lost or damaged in the
post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this bookazine may
be reproduced in whole or part without the written permission of the publisher. All copyrights are
recognised and used specifically for the purpose of criticism and review. Although the bookazine has
endeavoured to ensure all information is correct at time of print, prices and availability may change.
This bookazine is fully independent and not affiliated in any way with the companies mentioned herein.

Raspberry Pi is a trademark of the Raspberry Pi foundation

Raspberry Pi The Complete Manual Seventh Edition © 2016 Imagine Publishing Ltd

ISBN 9781785463709
Part of the

bookazine series
Contents
What you can ind inside the bookazine

Getting started The projects

40 Back up your Pi
Never lose a file again!

42 Beginner’s guide to nano

Edit text from the CLI
44 Remote desktop access
Use Raspbian anywhere!

46 Access files with SSH

Get access from home

48 Program with Scratch

Drag and drop coding

52 Create a Snake clone

8 Raspberry Pi models 26 The Raspbian desktop with Scratch
Meet models 3, A+ and Zero Find your way around Make your first game

12 The starter kit 28 Master the Config tool 56 Get interactive

What you need for your Pi How to tweak your settings with Scratch
Use the GPIO port
14 Set up your Pi 30 Get online
Configure your new PC Access a world of apps 58 Control an LED
Get creative with light
16 Set up your Pi Zero 32 Install & use packages
Start up your tiny Pi How to use apt-get 62 Supercharge your Pi
Improve performance
20 Install a distro 34 Use graphical installations
Get your new OS running Install & remove graphically 66 Monitor your network
Analyse your local network
22 Command line basics 36 GPIO explained
Learn essential new skills Get to grips with GPIO pins 68 Tether to Android
Access the Internet anywhere
38 Top four add-on boards using a hotspot
Four of the best peripherals

6
 Code
& create
70 Add a battery pack
Take your Pi mobile
92 Time-lapse
camera trigger with
72 Draw circuits with paint
Assemble circuits using Bare
Make a timelapse video

94 Build an iBeacon
your Pi!
Conductive paint with Bluetooth
Set up a wireless emitter
74 Send SMS
Text for free from your Pi 100 Build an always-on
torrent box
Download apps easily
76 Make a RasPi HTPC
Use Pi 2 for a powerful HTPC 102 Stream Internet TV to
your Pi
78 Print wirelessly Use the Miro media player to
Keep those wires hidden watch and listen to content
106 Create a Ras-Pi powered
80 Control lights with digital picture frame
your Pi Animate your photos
Use your Pi as a remote control
110 Build and control a Pi-
86 Build your first web server powered car
Learn new web skills
The ultimate in RC
88 Build a networked Hi-Fi 118 Xbox Zero arcade
with Pi Zero Turn your Pi Zero into a
Play music with your RasPi console-controller combo

“Once you’ve familiarised yourself with

the basics there’s almost no limit to what
you can achieve with your Pi”
7
 Getting started Raspberry Pi 3

Raspberry Pi 3
A super-charged Raspberry Pi that inally does everything you’d want it to, for
the exact same price as the previous models

While the Raspberry Pi has enjoyed years of up to become a 1,200 MHz beast, which helps
success, there’s always been a couple of things to make the Pi 3 a much more functional board.
a lot of users wanted. A slightly more powerful Whereas before you might have had problems
CPU that could handle day-to-day computing, suring the internet or writing a document, now
more USB ports and maybe wireless to make the Pi 3 breezes through these tasks with ease
connecting to the network easier. and plenty of processor power to spare.
The Raspberry Pi 3 solves these problems. At heart though, it’s still the same board as the
As it uses the same board design as the Model Raspberry Pi B+. As well as the aforementioned
B+, it has four USB ports, as opposed to the two four USB 2.0 ports, there’s the Ethernet port for
that were on the original Raspberry Pi Model B. wired internet, a good-quality 3.5mm headphone
More importantly, it has a much more powerful jack for sound, a HDMI port for digital video and
processor and more RAM, making it ten times audio and a 40-pin GPIO port. This expanded
faster than the original Pi. The Pi 3 has also GPIO port is fantastic for making your physical
added built-in wireless capabilities, which makes projects even more involved and complicated to
connecting to Wi-Fi and Bluetooth a cinch. do far cooler things.
The new BCM2837 chip is the heart of the For those worried about compatibility, all your
Raspberry Pi 3, a modiied version of the BCM2836 old iles and projects and such work just ine
chip from the old Raspberry Pi 2. The quad-core, on the Raspberry Pi 3, and all you need to do is
900 MHz processor has been further powered transfer them over like any normal iles.
8
 Raspberry Pi 3 Getting started

GPIO port USB ports Ethernet port

The 40 pins in the GPIO port give The four USB ports give you much The Pi 3 retains the wired
you a range of power and function more flexibility with the Raspberry network and internet connection
slots to control a project or read Pi 3, allowing you to easily add a that was on the Model B of the
more data from your surroundings. keyboard, mouse, wireless dongle original Raspberry Pi. It still tops
This makes the Raspberry Pi 3 and external storage without out at 100 MB, but that’s plenty
the perfect core for an Internet of needing to constantly switch out fast enough for the Raspberry Pi
Things or Maker project or get a powered-hub

Integrated wireless
The big update brought in
with the Raspberry Pi 3 is the
introduction of built-in 802.11n
wireless LAN and Bluetooth
4.1. Connectting to the Internet
and other devices has never
been easier

Headphone jack
Need to listen to your Raspberry
Pi privately? Connect it to a pair of
portable speakers? The 3.5mm jack
is still on the Pi 3, and is one of the
higher-quality ones that was added
to the B+

MicroSD HDMI port

Underneath the board is where the The Raspberry Pi’s special ability
boot medium lives – the microSD is to decode 1080p video on the
card. Much smaller than the SD fly with very little problem, and
card of the original, it still holds the the same tech still exists in the
full operating system and allows Pi 3. The HDMI port is basically
the Pi 3 to be much smaller the same, allowing for high
definition video and audio

“The Raspberry Pi 3 still won’t be able to

power a USB hub, so if you need to expand
the complement you’ll need to get a
powered-hub”
9
 Getting started Raspberry Pi (Model A+)

Raspberry Pi Model A+
Good things come in small packages: ind out why the Raspberry Pi A+ is ideal
for mobile projects.

While the Raspberry Pi Model B+ is a step up from is a clue as to how it can be used. The lack of
the Model B with its four USB ports, the Model an Ethernet port meanwhile, isn’t a weakness,
A+ is smaller than its predecessor, weighing just rather an illustration of the fact that this Raspberry
23g (down from 45g) and wielding one USB port. Pi is designed not for media centres and print
It’s also limited to just 256MB of RAM on the SoC, servers, but for projects where weight is a factor.
compared to the 512MB enjoyed on the B+. Perhaps you’ll mount it on an Arduino-powered
But don’t think that all of this means that the robot, where its lower power requirement can be
A+ is inferior. Its 65mm length and lower weight satisied with a battery.

MicroSD Storage Connectable 256 MB RAM

No more worries about the SD and flexible Squeezed on board!
card being snapped off or lost. The Both new Raspberry Pi models have It seems amazing, but on top
Raspberry Pi A+ features a push- had the GPIO header increased of all of this, there is a System-
push slot for a microSD card from 26 pins to 40, increasing the on-Chip 700 Mhz processor
device’s flexibility with 256 MB of RAM mounted
in the centre of this versatile
little computer

It’s smaller! It’s lighter too!

The original Raspberry Pi Model Repositioned power socket Unbelievably, the Raspberry
A was a credit card sized 86mm With the micro USB power socket now Pi Model A+ is just 23 g (0.81
in length. The A+ measures in at beside the HDMI socket, it’s easier to oz), a reduction in weight of
just 65mm long! arrange and manage cables almost 50 per cent!

10
 Raspberry Pi Zero Getting started

Raspberry Pi Zero
The tiny £4 computer has taken the world by storm, but what’s changed?
Coming in at a size smaller than a credit card, and no Ethernet in sight, adapters of various
the Pi Zero is certainly impressive to behold. kinds will play a vital role in more demanding
However, its size does not mean a scale back in projects. By ensuring every component is justiied
performance. The Zero’s 1Ghz, Single-core CPU in its existence, the Pi Zero is incredibly versatile.
and 512MB RAM has this board running 40% Its capability to run full images such as Rasbian,
faster than the original Pi. means jumping into a project is as simple as ever.
To achieve such a small form factor and low The minimalism of the Zero lends itself
production costs, the creators stripped back a perfectly to running in a headless setup, add a
lot of ports we have come to expect. With only Wi-Fi dongle and you can SSH in to control it,
space saving micro and mini ports remaining making the most of that single USB port.

New mini HDMI port MicroSD card Unpopulated GIPO header

You will need an adapter to make This is the same as the newer B models, With an identical pinout to Model A+/
use of this port. Or better still, go meaning you can swap in an existing B+/2B/3, headers can optionally be
headless and install yourself a lite card to be up and running in seconds soldered on yourself, making the Zero
OS image HAT compatible

Micro USB port Minimal connectors Smaller than a

The shortage of ports means a USB hub No Ethernet or audio port and no credit card
and an adapter will be more important camera or display connector. However Measuring in at 65mm x 30mm x 5mm
than ever to connect things such as a unpopulated composite video and reset the Zero comes in at a tenth the model
keyboard or Wi-Fi adapter headers are still available B’s overall footprint

11
 Getting started The starter kit

The starter kit

There’s more to your Pi than irst meets the eye.
Here are some vital peripherals to get you started

In order to get the very best experience from your Raspberry Pi,
you’re going to have to get hold of a few extras on top of the
actual Raspberry Pi board itself. For example, you’re going to need a
keyboard and mouse with which to enter commands and navigate.
While it’s possible to do projects without a keyboard and mouse
attached, you’ll need them for the initial setup. An SD card is also an
important purchase – it’s where the operating system lives.
Perhaps you’ll need a Wi-Fi adapter, or maybe just a length
of network cable. Then there’s the basic electronics side of the
Raspberry Pi, what would you need to start some of the beginner
electronics and control experiments? Clearly, there’s more to the
Raspberry Pi than some might think.
By ‘peripherals’, we mean other hardware that can be attached
and utilised by the Raspberry Pi. They could be something as simple
Did you know… as a decent HDMI or they could be the latest, greatest bespoke
Most online retailers sell
gadgets that enhance your project capabilities.
packages complete with all the There is an entire world of possibilities available for the Raspberry
accessories you might need –
even pre-installed SD cards.
Pi; from robot arms to remote-controlled helicopters… The only
limits are the hardware available and your imagination!

Keyboard and mouse SD card

Let’s start with the most basic of components, the keyboard Early Raspberry Pi computers required an SD card, whereas
and mouse. Generally speaking, virtually any USB keyboard later models such as the Raspberry Pi 2 and 3 use microSD
and three-button scroll mouse will work with the Raspberry cards for storage. This is where your chosen operating
Pi, and although for some projects you won’t even need a system (such as Raspbian) is installed, and these can be
keyboard and mouse, you’ll need them for initial setup. bought in various sizes, pre-installed with the OS, or blank.

12
 The starter kit Getting started

Power cable Case

The Raspberry Pi uses a standard micro USB connector for Securing your Raspberry Pi in a case will protect it and
its power input, running at 5V. In most cases a micro USB prevent the delicate GPIO pins from accidental damage. A
to USB cable will suffice, of which one end can be plugged case can also make your Raspberry Pi a more attractive or
into your desktop computer’s USB port. An Android phone striking unit, perhaps as a media centre. Ensure you choose
charger should also work perfectly (5.25V 1500mA). the right case for your Raspberry Pi model.

Video output Powered USB hub

There are two video output ports, a HDMI port and an RCA Extra USB ports are worth considering as an early purchase
Socket. HDMI is the primary video-output connector for with your Pi. Once you’ve connected a keyboard and mouse
most users, but the RCA video-out port can also be used to you’ll realise why! Using a powered USB hub is important, to
connect TVs, monitors or to a SCART cable. Remote access stop any power being drained from the Pi, and allow you to
to your Raspberry Pi is also possible via SSH or VNC. attach the likes of an external hard drive, for example.

Raspberry Pi camera board USB Wi-Fi adaptor

This is a custom designed add-on board that attaches to Using a USB Wi-Fi adaptor will bring flexibility to where you
one of the Raspberry Pi’s on-board sockets via a flexible position your Raspberry Pi. Without a restrictive Ethernet
cable. It’s extremely small, but remarkably powerful, having cable, it could be used for more advanced projects where
a native resolution of five megapixels and supporting 1080p running a wired internet connection isn’t a valid option. Just
video. It’s essentially a smartphone camera for the Pi! make sure you buy a Raspberry Pi-friendly Wi-Fi adaptor.

13
 Getting started Set up your Raspberry Pi

Set up your
Raspberry Pi
Learn what goes where in your brand new
Raspberry Pi with our easy-to-follow guide
While it looks daunting, setting up the Raspberry Pi
for day-to-day use is actually very simple. Like a TV
or a normal computer, only certain cables will it into
the speciic slots, and the main job really is making
sure you’ve got plugged in what you need at any one
time. The Raspberry Pi itself doesn’t label much of the
board. However, most good cases will do that for you
anyway – if you decide to invest in one.

Power adapter Monitor

The Raspberry Pi is capable of
The Raspberry Pi is powered using displaying a 1920 x 1080 output –
a microUSB cable, much like a otherwise known as 1080p. Some
lot of modern Android phones. modern monitors allow you to
It can be powered off a laptop or plug HDMI straight into them,
computer. But to make the most just like TVs do. However you may
out of it, a proper mains adapter – need an adapter in some cases
like this one – is ideal

USB hub
There are only a limited number
of USB ports on a Raspberry Pi
(just one, if you have Model A). Case and accessories
To get around this you will need A case is not necessary to use the
a USB hub. It’s important to get Pi correctly, but a decent one can
a powered one, as the Pi cannot keep it well protected from dust,
supply enough juice on its own and make it easier to move while in
operation. You will need an SD card,
however, of at least 4GB

Keyboard and mouse

Like any computer, you’ll need a keyboard and
mouse for any standard PC-style operations you
do with the Raspberry Pi. The more basic the
keyboard, the better; same with the mouse, as
some special ones need additional software

14
 Set up your Raspberry Pi Getting started

USB
All the peripherals you want to connect
via USB – USB hubs, keyboard, mouse,
Analogue output USB storage etc – is plugged in here.
For setups that don’t use HDMI, Ensure you have external power to the
the yellow video out port USB Hub if you have to use one though
is available. To use this with
sound, you’ll need to use the
small black port next to it, with
headphones, or an auxiliary
cable to pipe out the audio

SD card
The SD card goes in underneath the
Raspberry Pi board. This will hold your
operating system that runs the Raspberry Pi.
The Pi OS needs to be set up from another
computer before using it though

Digital output
The HDMI port is the main video (and
audio) output of the Raspberry Pi,
allowing you to display videos on the
desktop at a resolution of up to 1080p.
TVs that support it will also pick up the
audio automatically through it

Networking
The Raspberry Pi does not come with
wireless internet, and while you can add a
USB adapter, it’s usually easier to plug in an
Ethernet cable. This will plug into the back
of your router on the other end and give you
internet and access to your home network

Cabling
Make sure you have the right selection
of cables, such as an Ethernet cable for
networking and internet, and an HDMI or
Video cable for video out. The HDMI can
handle audio, but the video out will require
an additional auxiliary cable

15
Random documents with unrelated
content Scribd suggests to you:
"Well, Monsieur de Fontanes, have you found me a poet?"
But the day and the appointed hour had come for all those poets
who had escaped the notice of M. de Fontanes and Napoleon's
munificent offers. They were springing up, blossoming and glowing
like hawthorn in the month of May; and their names had already
begun to give promise of the immense sensation they were to create
in the future. Their names were Lamartine, Hugo, de Vigny, Sainte-
Beuve, Méry, Soulié, Barbier, Alfred de Musset, Balzac; these were
already filling, at the cost of their heart's blood, that great and
unique stream of poetry from which France and Europe and the
whole world were to drink during the nineteenth century.
But the movement was taking place not only amidst that pléiade
which I have just named; a whole host of others was fighting, each
helping forward the general cause by separate attacks, to make a
breach in the walls of the old school of poetry. Dittmer and Cavé
were publishing the Soirées de Neuilly; Vitet, the Barricades and the
États de Blois; Mérimée the Théâtre de Clara Gazul. And note
carefully that all these movements took place away from the stage
whereon the real struggle took place, and apart from its
manifestations. The real struggle was that in which I, and Victor
Hugo (I put myself first for chronological reasons) were to take part.
I was preparing for it not only by the continuation of my Christine,
but still more by studying humanity as a whole, combined with
individual characterisations.
I have referred to the immense service the English actors had done
me; Macready, Kean, Young had in turn completed the work begun
by Kemble and Miss Smithson. I had seen Hamlet, Romeo, Shylock,
Othello, Richard III. and Macbeth. I had read and devoured not only
the whole of Shakespeare, but even the whole of the foreign
dramatic output. I had recognised that, in the theatrical world,
everything emanated from Shakespeare, just as in the external
world everything owes its existence to the sun; that nothing could
be compared with him; for, coming before everyone else, he was yet
as supreme in tragedy as Corneille, in comedy as Molière, as original
as Calderon, as full of thought as Goethe, as passionate as Schiller. I
realised that his works contained as many types as the works of all
the others put together. I recognised, in short, that, after the Creator
Himself, Shakespeare had created more than any other being. As I
have stated, when I saw these English artists, actors who forgot that
they were on a stage,—the life of the imagination became actual life
through the power of Art; their convincing words and gestures
seeming to transform them from actors into creatures of God, with
their virtues and their vices, their passions and their failings,—from
that moment my career was decided. I felt I had received that
special call which comes to every man. I felt a confidence in my own
powers that I had lacked until then, and I boldly hurled myself upon
the unknown future that had hitherto held such terrors for me. But,
at the same time, I did not disguise from myself the difficulties in
the way of the career to which I had devoted my life; I knew that it
would require deeper and more special study than any other
profession; that before I could experiment successfully on living
nature I must first perseveringly study the works of others. So I did
not rest satisfied with a superficial study. One after the other, I took
the works of men of genius, like Shakespeare, Molière, Corneille,
Calderon, Goethe and Schiller, laid them out as bodies on a
dissecting table, and, scalpel in hand, I spent whole nights in
probing them to the heart in order to find the sources of life and the
secret of the circulation of their blood. And after a while I discovered
with what admirable science they galvanised nerve and muscle into
life, and by what skill they modelled the differing types of flesh that
were destined to cover the one unchangeable human framework of
bone. For man does not invent. God has given the created world into
his hands, and left him to apply it to his needs. Progress simply
means the daily, monthly and everlasting conquest of man over
matter. Each individual as he appears on the scene takes possession
of the knowledge of his fathers, works it up in different ways, and
then dies after he has added one ray more to the sum of human
knowledge which he bequeaths to his sons,—one star in the Milky
Way! I was then not only trying to complete my dramatic work but
also my dramatic education. But that is an error, one's work may be
finished some day, but one's education never!
I had just about concluded my play, after two months' peace and
encouragement in my humble post in the Archives Office, when I
received notice from the Secretariat that, as my position was almost
a sinecure, it had been done away with, and that I must hold myself
ready to enter the Forestry Department—under M. Deviolaine. So
the storm that had been hanging over my head for long had burst at
last. I said good-bye to old father Bichet with tears in my eyes, and
to his two friends MM. Pieyre and Parseval de Grandmaison, who
promised to follow my career with sympathetic interest wherever I
might be. The reader knows M. Deviolaine. During the five years I
had been in the Government offices I had been looked upon as a
bête-noir, so I entered upon my new official work under no very
favourable auspices.
The struggle began immediately I took up my new duties. They
wanted to herd me together with five or six of my fellow-clerks in
one large room, and I revolted against the proceeding. My
companions were good enough to explain to me in all innocence that
they found it an advantageous way of killing time—that deadly
enemy to employés—to sit together, for then they could talk. Now,
talk was just what I most dreaded; to them it was a pleasure, to me
a torture, for chattering distracted my own ever-increasing
imaginative ideas. No, instead of wanting to be in this big office,
strewn thick with supernumeraries, clerks and assistants, I had my
eye on a sort of recess separated by a simple partition from the
office-boy's cubicle, and in which he kept the ink-bottles that were
returned to him empty. I asked if I might take possession of this
place. I might as well have asked for the archbishopric of Cambrai,
which was just vacant. A fearful clamour went up at this demand,
from the office boy to the head of the department (directeur
général). The office boy asked the clerks in the big room where he
could put his empty bottles henceforth; the clerks in the big room
asked the assistant head clerk (the one who had never heard of
Byron) whether I thought myself too good to work with them; the
assistant head clerk asked the chief clerk whether I had come to the
Forestry Department to give or to receive orders; the chief clerk
asked the head of the department if it were usual for a clerk paid
fifteen hundred francs to have an office to himself, as though he
were a head clerk at four thousand. The head of the department
replied that it was not only absolutely contrary to administrative
customs, but that no such precedent would be allowed me, and that
my claim was most presumptuous! I was trying to fit myself into the
unlucky recess which, for the moment, formed the sum of my
ambition, when the head clerk walked haughtily from the office of
the head of the department, bearing the verbal command that the
rebellious employé, who had dared for one moment to entertain the
ambitious hope of leaving the ordinary ranks, should at once return
to his place there. He transmitted the order immediately to the
assistant head clerk, who passed it on to the ordinary clerks of the
large office, who transmitted it to the office boy! There was joy
throughout the department: a fellow-clerk was to be humiliated and,
if he did not take his humiliation in a humble spirit, he I would lose
his situation! The office boy opened the door between his cubicle
and mine; he had just come from making a general clearance
throughout the office and had brought back all the empty bottles he
could manage to unearth.
"But, my dear Féresse," I said, watching him uneasily, "how do you
think I can manage here with all those bottles, or, rather, how are all
those bottles going to fit in with me,—unless I live in one of them,
after the style of le Diable boiteux?"
"That's just it!" leered Féresse, as he deposited fresh bottles by the
old ones. "M. le Directeur général does not look upon it in that light:
he wishes me to keep this room for myself, and does not intend a
new-comer to lay down the law."
I walked up to him, the blood mantling my face.
"The new-comer, however insignificant he may be, is still your
superior," I said; "so you should speak to him with your head
uncovered. Take your cap off, you young cub!"
And, at the same moment, I gave the lad a back-hander that sent
his hat flying against the wall, and took my departure. All this
happened in the absence of M. Deviolaine; therefore I had not the
last word in the matter. M. Deviolaine would not return for two or
three days; so I decided to go home to my poor mother, and there
await his return. But, before I left the office, I went and told Oudard
all that had happened, who said he could not do anything in the
matter, and I told M. Pieyre, who said that he could not do much. My
mother was in a state of despair: it reminded her too much of my
return home from Maître Lefèvre's in 1823. She rushed off to
Madame Deviolaine. Madame Deviolaine was an excellent woman
but narrow-minded, and she could not understand why a clerk
should have any other ambition beyond that of ultimately becoming
a first class clerk; why a first class clerk should desire to become
anything beyond an assistant chief clerk; why an assistant chief clerk
should have any other ambition than that of becoming chief clerk,
and so forth. So she did not hold out any promises to my mother;
for that matter, the poor woman had not much influence over her
husband, as she well knew, and she but rarely tried to exercise what
little she did possess. Meanwhile, I had begged Porcher to come to
our house. I showed him my almost completed tragedy, and I asked
him whether, in case of adverse circumstances, he would advance
me a certain sum.
"Confound it!" Porcher replied—"a tragedy!... If it had been a
vaudeville I do not say but that I would!... However, get it received
and we will see."
"Get it received!" Therein, of course, lay the whole question.
My mother returned at that moment, and Porcher's answer was not
of the kind to reassure her. I wrote to M. Deviolaine, and begged
that my letter might be given him on his return; then I waited. We
spent three days of suspense; but during those three days I stayed
in bed and worked incessantly. Why did I stop in bed? That requires
an explanation. Whilst I was at the Secretariat, and had to be at the
office from ten in the morning until five in the evening, returning
there from eight until ten o'clock, I had to traverse the distance
between the faubourg Saint-Denis No. 53 to the rue Saint-Honoré
No. 216, eight times a day, and I was so tired out that I could rarely
work if I sat up. So I went to bed and slept, first putting my work on
the table near my bed; I slept for two hours, and then at midnight
my mother woke me and went to sleep in her turn. That was the
reason I worked in bed. This habit of working in bed attained such
hold of me that I kept it up long after I had gained freedom of
action, doing all my theatrical work thus. Perhaps this revelation may
satisfy those physiologists who dilated upon the kind of rude passion
which has been noted in my earliest works, and with which, perhaps
not unreasonably, I have been reproached. I contracted another
habit, too, at that time, and that was to write my dramas in a
backward style of handwriting: this habit I never lost, like the other,
and to this day I have one style of handwriting for my dramas and
another for my romances. During those three days I made immense
progress with Christine. On the fourth day, I received a letter from
M. Deviolaine, summoning me to his office. I hurried there, and this
time my heart did not beat any the faster; I had faced the worst that
could happen and I was prepared for anything.
"Ah! there you are, you cursed blockhead!" cried M. Deviolaine,
when he saw me.
"Yes, monsieur, here I am."
"So! so, monsieur!"
I made no reply.
"So we are too grand a lord to work with ordinary mortals?" M.
Deviolaine continued.
"You are mistaken ... quite the contrary. I am not a sufficiently grand
lord to work with the others, that is why I want to work alone."
"And you ask for an office to yourself, on purpose to do nothing in it
but to write your dirty plays?"
"I ask for an office to myself so that I can have the right to think
while I am working."
"And if I do not let you have an office to yourself?"
"I shall try to earn my living as an author. You know I have no other
resource."
"And if I do not immediately send you packing, you may be very
sure it is for your mother's sake and not for your own."
"I am fully aware of that, and I am grateful to you on my mother's
account."
"Very well, take your office to yourself, then; but I give you warning
that...."
"You will give me double the work of any other clerk?"
"Exactly so."
"It will be unjust, that is all; but, since I am not the stronger, I shall
submit."
"Unjust! unjust!" shrieked M. Deviolaine. "I would have you know
that I have never done an unjust thing in my life."
"It would seem there is a beginning for everything."
"Did you ever see—oh, did you ever see such a young rip!"
continued M. Deviolaine, as he paced up and down his office,—"did
you ever see! did you ever see!..."
Then, turning to me again, he said—
"Very well, I will not treat you unjustly; no, indeed no, you shall not
have more work to do than the others; but you shall have as much,
and you shall be watched to see that you get through it! M. Fossier
shall receive orders from me to carry out this inspection."
I moved my lips.
"What next! Have you something now to say against M. Fossier?"
"No, only that I think him ugly."
"Well, what then?"
"Why, I would much rather he were good-looking, on his own
account first and also on my own."
"But what does it matter to you whether M. Fossier be ugly or
beautiful?"
"If I have to meet a face three or four times in a day I should much
prefer it to be agreeable rather than disagreeable."
"Well, I never met such a cursed young puppy in all my days! You
will soon want me to choose my head clerks to suit your taste!... Get
out! Go back to your office, and try to make up for lost time."
"I will do so; but, first, I want to ask a promise from you, monsieur."
"Well, upon my word, if he isn't actually going to impose his own
conditions on me!"
"You will accept this one, I am sure."
"Now, what do you wish, Monsieur le poëte?"
"I should like you yourself each day to overlook the work I have
done and see how I have done it."
"Well, I promise you that.... And when is the first performance to
take place?"
"I can hardly tell you; but I am very sure you will be present at it!"
"Yes, I will be there, in more senses than one; you may be quite
easy on that score.... Now, go and behave yourself!"
And he made a threatening gesture, upon which I went out.
M. Deviolaine kept his word to me. He gave me plenty of work to do
without overdoing me. But, as he had promised, M. Fossier always
came and brought the work to me himself, and if, by ill luck, I was
not at my desk, M. Deviolaine was instantly informed of my absence.
 CHAPTER XI

Conclusion of Christine—A patron, after a fashion—Nodier

recommends me to Taylor—The Royal Commissary and the
author of Hécube—Semi-official reading before Taylor—Official
reading before the Committee—I am received with acclamation
—The intoxication of success—How history is written—M.
Deviolaine's incredulity—Picard's opinions concerning my play—
Nodier's opinion—Second reading at the Théâtre-Français and
definite acceptance

But none of these hindrances prevented me from finishing Christine.

I had, however, scarcely written the famous last line—
"Eh bien, j'en ai pitié, mon père ... Qu'on l'achève!"
when I found myself in as embarrassing a situation as any poor girl
who has just given birth to a child outside the pale of legitimate
matrimony. What was I to do with this bastard child of my creation,
born outside the gates of the Institute and the Academy? Was I to
stifle her as I had smothered her elders? That would have been hard
lines indeed! Besides, this little girl was strong, and quite capable of
living; it seemed good, therefore, to acknowledge her; but first it
was necessary to find a theatre to receive her, actors to clothe her
and a public to adopt her!
Oh! if only Talma were living! But Talma was dead and I did not
know anyone at the Théâtre-Français. Perhaps it might be possible
for me to manage it through M. Arnault. But he would ask to see the
work on behalf of which his services were requested, and he would
not have read ten lines before he would fling it as far from him as
poor M. Drake had the rattlesnake that bit him at Rouen. I went to
look for Oudard. I told him that my play was completed and I boldly
asked him for a letter of introduction to the Théâtre-Français.
Oudard refused under pretence that he did not know anyone there. I
had the courage to tell him that his introduction as head of the
Secretariat of the Duc d'Orléans would be all-powerful.
He replied, after the manner of Madame Méchin, when she did not
incline to promote any particular end—
"I will never lend my influence in that direction."
I had several times noticed a man with thick eyebrows and a long
nose, in the Secretarial Department, who took his tobacco Swiss-
fashion. This man periodically brought the ninety theatre tickets to
all parts of the house that M. Oudard had the prerogative of giving
away every month, at the rate of three per day. I did not know who
this man was, but I asked. I was told that he was the prompter.
I lay in wait for this prompter, took him by surprise in the corridor
and begged him to tell me what steps were necessary to obtain the
honour of a reading before the Committee of the Théâtre-Français.
He told me I must first deposit my play with the Examiner; but he
warned me that so many other works were already deposited there
that I must expect to wait at least a year. As though it were possible
for me to wait a year!
"But," I asked, "is there no short cut through all these formalities?"
"Oh dear me, yes!" he replied, "if you know Baron Taylor."
I thanked him.
"There is nothing to thank me for," he said.
And he was right; there wasn't anything to thank him for, for I did
not know Baron Taylor in the slightest.
"Do you know Baron Taylor?" I asked Lassagne.
"No," he answered; "but Charles Nodier is his intimate friend."
"What of that?"
"Well, did you not tell me that you once talked with Charles Nodier a
whole evening at a representation of the Vampire?"
"Certainly."
"Write to Charles Nodier."
"Bah! he will have forgotten all about me."
"He never forgets anything; write to him."
I wrote to Charles Nodier, recalling to his memory the Elzevirs, the
rotifer, the vampires, and in the name of his well-known kindliness
towards young people I entreated him to introduce me to Baron
Taylor. It can be imagined with what impatience I awaited the reply.
Baron Taylor himself replied, granting my request and fixing an
appointment with me five or six days later. He apologised at the
same time for the hour he had fixed; but his numerous
engagements left him so little time that seven o'clock in the morning
was the only hour at which he could see me. Although I am probably
the latest riser in Paris, I was ready at the appointed hour. True, I
had kept awake all the night. Taylor then lived at No. 42 rue de
Bondy, fourth floor. His suite of rooms consisted of an anteroom
filled with books and busts; a dining-room full of pictures and books;
a drawing-room full of weapons and books; and a bedroom full of
manuscripts and books. I rang at the door of the antechamber, my
heart beating at a terrible rate. The good or ill natured mood of a
man who knew nothing about me, who had no inducement to be
kindly disposed towards me, who had received me out of pure good-
nature, was to decide my future life. If my play displeased him, it
would stand in the way of anything I could bring him later, and I was
very nearly at the end of my courage and strength. I had rung the
bell, gently enough, I admit, and no one had answered it; I rang a
second time, as gently as at first; again no one took any notice of
me. And yet, putting my ear close, I seemed to hear a noise
indicative of something unusual taking place inside: confused sounds
and snarls which now sounded like bursts of anger, and now,
decreasing in pitch, seemed like a continuous monotonous bass
accompaniment. I could not imagine what it could be; I was afraid
to disturb Taylor at such a moment and yet it was the very hour he
had himself fixed for my coming. I rang louder. I heard a door open,
and simultaneously the mysterious noise from inside that had greatly
roused my curiosity for the last ten minutes sounded louder than
ever. At last the door was opened by an old serving-woman.
"Ah! monsieur," she said, with a flustered manner, "your coming will
do M. le Baron an excellent turn. He is waiting anxiously for you; go
in."
"What do you mean?"
"Go in, go in ... do not lose a minute."
I went quickly into the sitting-room, where I found Taylor caught in
his bath-tub like a tiger in his den, a gentleman near him reading a
tragedy called Hécube. This gentleman had forced his entrance, no
matter what was said to him. He had surprised Taylor as Charlotte
Corday had surprised Marat when she stabbed him in his bath; but
the agony that the King's Commissary endured was more prolonged
than that of the Tribune of the People. The tragedy was two
thousand four hundred lines long! When the gentleman caught sight
of me, he realised that his victim was to be snatched away from
him; he clutched hold of the bath, exclaiming—
"There are only two more acts, monsieur,—there are only two more
acts!"
"Two sword-cuts, two stabs with a knife, two thrusts with a dagger!
Select from among the arms round about—there are all kinds here—
choose the one that will slice the best and kill me straight off!"
"Monsieur," replied the author of Hécube, "the Government
appointed you commissaire du roi on purpose to listen to my play; it
is your duty to listen to my play—you shall hear my play!"
"Ah! that is just where the misfortune comes in!" cried Taylor,
wringing his hands. "Yes, monsieur, to my sorrow I am commissaire
du roil ... But you and such people as you will make me hand in my
resignation; you and your like will force me to give it up and leave
France. I have had an offer to go to Egypt, I will accept it; I will
explore the sources of the Nile as far as Nubia, right to the
Mountains of the Moon,—and I will go at once and get my passport."
"You can go-to China, if you like," replied the gentleman, "but you
shall not go until you have heard my play."
Taylor gave one long moan, like a vanquished athlete, made a sign
to me to go into his bedroom and, falling back into his bath-tub, he
bowed his head in resignation upon his breast. The gentleman went
on. Taylor's precaution of putting a door between him and his reader
and me was quite useless; I heard every word of the last two acts of
Hécube. The Almighty is great and full of compassion—may He
bestow peace on that author! At last, when the play was finished,
the gentleman got up and, at Taylor's earnest entreaty, consented to
depart. I heard the old woman double lock the door after him. The
bath-water had made good use of the time spent on the reading to
grow cold, and Taylor came back into his bedroom shivering. I would
have sacrificed a month's pay for him to have found a warmed bed
to creep into. And the reason is not far to seek; for, naturally, a man
who is half frozen, after just listening to five acts, is not in a
favourable mood to hear five more acts.
"Alas! monsieur," I said to him, "I have happened upon a most
unsuitable time, and I fear you will not be in the least disposed to
listen to me, at least with the patience I could desire."
"Oh, monsieur, I will not admit that, since I do not yet know your
work," Taylor replied; "but you can guess what a trial it is to have to
listen to-such stuff as I have just heard, every blessed day of my
life."
"Every day?"
"Yes, indeed, and oftener! See, here is my agenda for to-day's
Committee. We are to hear an Épaminondas."
I heaved a sigh. My poor Christine was caught between two cross-
fires of classicism.
"M. le Baron," I ventured to say, "would you rather I came another
day?"
"Oh! certainly not," said Taylor, "now we are here...."
"Very well," I said, "I will just read you one act, and if that tires you
or bores you, you must stop me."
"All right," Taylor murmured; "you are more merciful than your
confrères. And that is a good sign.... Go on, go on; I am listening."
Tremblingly I drew my play from my pocket;—it looked a terribly big
volume. Taylor cast a glance on the immense bulk with such an
alarmed expression that I cried out to him—
"Oh, monsieur, do not be afraid! The manuscript is only written on
one side of the paper."
He breathed again. I began. I was so nervous I could not see to
read; my voice shook so that I could not hear my own voice. Taylor
reassured me; he was unaccustomed to such modesty! I resumed
my reading, and I managed somehow to get through my first act.
"Well, monsieur, shall I go on?" I asked in a faint voice, without
daring to raise my eyes.
"Certainly, certainly," Taylor replied, "go on. Upon my word, it is
excellent!"
Fresh life came to me, and I read my second act with more
confidence than the first. When I had finished, Taylor himself told
me to go on with the third, then the fourth, then the fifth. I felt an
inexpressible desire to embrace him; but I refrained, for fear of the
consequences.
When the reading was finished, Taylor leapt from his bed.
"You must come to the Théâtre-Français with me," he said.
"But what must I do there?"
"Why, get your turn to read your play as soon as possible."
"Do you really mean it? Shall I read it to the Committee?"
"Not a day later than next Saturday." And Taylor called out, "Pierre!"
An old man-servant came in.
"Give me all my clothes, Pierre."
Then turning to me, he said, "You will excuse me?"
"Oh, there is nothing to excuse!..." I replied.
On the following Thursday (for Taylor would not wait until the
Saturday, but had called a special Committee) the Committee,
whether from chance or because Taylor had praised my play
extravagantly, was a very large one; there were as many well-
dressed men and women present as though a dance were on the
way. The ladies decked out in gay hats and flowers, the gentlemen
in fashionable dress, the large green carpet, the inquisitive looks
which were fixed upon me, every detail down to the glass of water
which Granville solemnly placed by my side—which struck me as
very ludicrous—all this combined to inspire me with profound
emotion.
Christine was then quite different from what it is to-day: it was a
simple play, romantic in style, but founded on classical traditions. It
was confined to five acts; the action took place entirely at
Fontainebleau, and it conformed with the unity of time, place and
action laid down by Aristotle. Stranger still! it did not contain the
character of Paula, which is now the best creation in the play, and
the real dramatic mainspring of the whole work. Monaldeschi
betrayed Christine's ambition, but not her love. And yet I have rarely
known any work to have such a successful first reading. They made
me read the monologue of Sentinelli and the scene with Monaldeschi
three times over. I was intoxicated with delight. My play was
received with acclamation. Only, three or four of the agenda papers
contained the following cautious phrase:—
"A second, reading, or the manuscript to be submitted to an author
in whom the Committee has confidence."
The result of the deliberations of the Comédie-Française was that
the tragedy of Christine was accepted; but, on account of the great
innovations which it contained, they would not undertake to perform
it until after another reading, or the manuscript had been submitted
to another author, to be named by them.
The whole thing had passed before my eyes like a mist. I had seen
face to face for the first time the kings and queens of the tragic and
comic stage: Mademoiselle Mars, Mademoiselle Leverd,
Mademoiselle Bourgoin, Madame Valmonzey, Madame Paradol and
Mademoiselle Demerson, an engagingly clever soubrette, who
played Molière with great freshness, and Marivaux with such finished
style as I never saw in anyone else. I knew I was accepted and that
was all I wished to know: the conditions I would fulfil, the difficulties
I would overcome. Therefore I did not wait until the conclusion of
the conference. I thanked Taylor, and I left the theatre as proud and
as light-hearted as though my first mistress had said to me, "I love
you." I made off for the faubourg Saint-Denis, ogling everybody I
met, as much as to say, "You haven't written Christine; you haven't
just come away from the Théâtre-Français; you haven't been
received with acclamation, you, you, you!" And, in the joyful
preoccupation of my thoughts, I did not take care to measure my
steps across a gutter but stumbled into the middle of it; I took no
notice of carriages, I jostled in and out among the horses. When I
reached the faubourg Saint-Denis I had lost my manuscript; but that
did not matter! I knew my play by heart. With one leap, I bounded
into our rooms, and my mother cried out, for she never saw me back
before five o'clock.
"Received with acclamation, mother! received with acclamation!" I
shouted. And I began to dance round our rooms, which allowed but
little space for such exercise. My mother thought I must have gone
mad; I had not told her I was going to the reading for fear of
disappointment.
"And what will M. Fossier say?" my poor mother exclaimed.
"Oh!" I replied, suiting my words to the tune of Malbrouck, "M.
Fossier can say whatever he likes, and if he is not satisfied, I will
send him about his business!"
"Take care, my dear lad," my mother replied, shaking her head; "it
will be you who will be sent packing and in good earnest, too."
"All right, mother; so much the better! It will give me time to attend
my rehearsals."
"And suppose your play is a failure, and you have lost your situation,
what will become of us?"
"I will write another play that will succeed."
"But in the meantime we must live."
"Ah yes! it's very unfortunate that one has to live; happily, in seven
or eight days we shall receive something on account."
"Yes, but while we are waiting for that, which you have not yet got,
my lad, take my advice and return to your desk, so that no one may
suspect anything, and do not boast of what has happened to a
single person."
"I fancy you are in the right, mother; and although I asked the
whole day off from M. Deviolaine, I will return to my desk. It is half-
past two. Why, I shall yet have time to despatch my day's work."
And I set forth at a run to the rue Saint-Honoré. The exercise did me
good, for I needed fresh air and action; I felt stifled in our tiny
rooms. I found a pile of reports ready for me; I set to my task, and
by six o'clock everything was finished. But by this time Féresse's
anger against me amounted to hatred: I had compelled him to stay
till the stroke of six before I had finished the last lines. I had never
written so fast or so well. I re-read everything twice for fear I might
have interpolated some lines from Christine in the reports. But, as
usual, they were innocent of poetic effusions. I gave them back to
Féresse, who went with them to M. Fossier's office, growling like a
bear. I then went home to my dear mother, quite spent and utterly
exhausted with the great events of that day. It was 30 April 1828. I
spent the evening, the night and the morning of the next day in
rewriting my manuscript afresh. By ten o'clock, when I reached the
Administration, I found Ferésse at the door of his office. He had
been looking out for me since eight o'clock that morning, although
he knew well enough that I never came before ten.
"Ah! there you are," he said. "So you have been writing a tragedy, I
hear."
"Who told you that?"
"Why, good gracious, it is in the newspaper."
"In the paper?"
"Yes, read it for yourself."
And he handed me a paper which did, indeed, contain the following
lines:—

"The Théâtre-Français to-day accepted with acclamation and

unanimity a five-act tragedy in verse, by a young man who has
not yet produced anything. This young man is in the
administrative offices of M. le Duc d'Orléans, who made his path
easy for him and who strongly recommended him to the
Reading Committee."

You see how accurately the daily press gauged the situation! it has
not lost the tradition even to-day. Nevertheless, although inaccurate
enough in detail, the news was fundamentally true; and it circulated
from corridor to corridor and from storey to storey. It flew from
office to office, by means of people coming in and going out, just as
though Madame la Duchesse d'Orléans had given birth to twins. I
was congratulated by all my colleagues, some with sincerity, others
mockingly; only the chief of my office hid himself from view. But,
since he kept me going with four times my usual amount of work, it
was quite evident he had seen the paper. M. Deviolaine came in at
two o'clock and at five minutes past two he sent for me. I walked
into his office with my head in the air and my hands perched jauntily
on my hips.
"Ah! there you are, you young blade!" he said.
"Yes, here I am."
"So you asked me for a holiday yesterday in order to play pranks!"
"Have I neglected my work?"
"That is not the question."
"Excuse me, M. Deviolaine, on the contrary it is the only question."
"But don't you see that they have been making game of you?"
"Who has?"
"The Comedians."
"Nevertheless, they have accepted my play."
"Yes, but they will not put it on the stage."
"Ah! we shall see!"
"And if they do produce your play...."
"Yes?"
"You will still need the approbation of the public."
"Why should you imagine it will not please the public since it has
pleased the Comedians?"
"Come now, do you want to make me believe that you, who only
had an education that cost three francs a month, will be successful
when such people as M. Viennet and M. Lemercier and M. Lebrun
fall flat?... Go along with you!"
"But instead of judging me beforehand, wouldn't it be fairer to
wait?"
"Oh yes, wait ten years, twenty years! I sincerely hope I shall be
buried before your play is acted, and then I shall never see it."
At this juncture, Ferésse slily opened the door.
"Excuse me, M. Deviolaine," he said, "but there is a Comedian here
(he carefully emphasised the word) asking for M. Dumas."
"A Comedian! What Comedian?" M. Deviolaine asked.
"M. Firmin, from the Comédie-Française."
"Yes," I replied quietly; "he takes the part of Monaldeschi."
"Firmin plays in your piece?"
"Yes, he takes Monaldeschi.... Oh, it is admirably cast: Firmin plays
Monaldeschi, Mademoiselle Mars Christine...."
"Mademoiselle Mars plays in your piece?"
"Certainly."
"It is not true."
"Would you like her to tell it you herself?"
"Do you imagine I am going to take the trouble to assure myself you
are lying?"
"No; she will come here."
"Mademoiselle Mars will come here?"
"I am sure she will have the kindness to do that for me."
"Mademoiselle Mars?"
"Yes, you see that Firmin...."
"Stop! Go your own way! for upon my word you are enough to turn
my brain!... Mademoiselle Mars ... Mademoiselle Mars put herself out
for you? Think of it!... Mademoiselle Mars!" and he raised his hands
to heaven in despair that such a mad idea should ever enter the
head of any member of his family.
I took advantage of this theatrical display to escape. Firmin was,
indeed, waiting for me. He had made use of his time in looking
round the office, and he had ascertained that the windows of my
office looked exactly across to those of the Comédie-Française—a
circumstance that offered great facilities for my future
communications. He came so that no time should be lost, to offer to
take me to Picard's house, who was going to read my manuscript.
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