Paris as It Was and as It Is Part 48

Since the revolution, masquerades were strictly forbidden, and this prohibition continued under the directorial government. It is only since BONAPARTE'S accession to the post of Chief Magistrate, that the Parisians have been indulged with the liberty of wearing disguises during the carnival.

Of all the amus.e.m.e.nts in Paris, I have ever thought this the most tiresome and insipid. But it is the same at the _Bal de l'Opera_ as at _Frascati_, _Longchamp_, and other points of attraction here; every one is soon tired of them, and yet every one flocks thither. In fact, what can well be more tiresome than a place where you find persons masked, without wit or humour? Though, according to the old French saying, "_I faut avoir bien peu d'esprit pour ne pas en avoir sous le masque?_"

The men, who at a masquerade here generally go unmasked, think it not worth while to be even complaisant to the women, who are elbowed, squeezed, and carried by the tide from one end of the room to the other, before they are well aware of it. Dominos are the general dress. The music is excellent; but it is not the fas.h.i.+on to dance; and _les femmes de bonne compagnie_, that is, well-bred women, are condemned to content themselves with the dust they inhale; for they dare not quit their mask to take any refreshment. But, notwithstanding these inconveniences, it is here reckoned a fine thing to have been at a _bal masque_ when the crowd was great, and the pressure violent; as the more the ladies have shared in it, the more they congratulate themselves on the occasion.

Before the revolution, the _grand ton_ was for gentlemen to go to the _Bal de l'Opera_ in a full-dress suit of black, and unmasked. Swords were here prohibited, as at Bath. This etiquette of dress, however, rendered not the company more select.

I remember well that at a masked ball at the Parisian opera, in the year 1785, the very first beau I recognized in the room, parading in a _habit de cour_, was my own _perruquier_. As at present, the amus.e.m.e.nt of the women then consisted in teazing the men; and those who had a disposition for intrigue, gave full scope to the impulse of their nature. The _fille entretenue_, the _d.u.c.h.esse_, and the _bourgeoise_, disguised under a similar domino, were not always distinguishable; and I have heard of a certain French marquis, who was here laid under heavy contribution for the momentary gratification of his caprice, though the object of it proved to be no other than his own _cara sposa_.

LETTER LIII.

_Paris, January 19, 1802._

When you expressed your impatience to be informed of the dramatic amus.e.m.e.nts in Paris, I promised to satisfy you as soon as I was able; for I knew that you would not be contented with a superficial examination. Therefore, in reviewing the princ.i.p.al scenic establishments, I shall, as I have done before, exert my endeavours not only to make you acquainted with the _best_ performers in every department, but also with the _best_ stock-pieces, in order that, by casting your eye on the _Affiches des Spectacles_, when you visit this capital, you may at once form a judgment of the quality and quant.i.ty of the entertainment you are likely to enjoy at the representation of a particular piece, in which certain performers make their appearance. Since the revolution, the custom of printing the names of the actors and dancers in each piece, has been introduced. Formerly, amateurs often paid their money only to experience a disappointment; for, instead of seeing the hero or heroine that excited their curiosity, they had a bad duplicate, or, as the French term it, a _double_, imposed on them, more frequently through caprice than any other motive. This is now obviated; and, except in cases of sudden and unforeseen indisposition, you may be certain of seeing the best performers whenever their name is announced.

In speaking of the theatres, the pieces represented, and the merits of the performers, I cannot be supposed to be actuated by any prejudice or partiality whatever. I have, it is true, been favoured with the oral criticism of a man of taste, who, as a very old acquaintance, has generally accompanied me to the different _spectacles_; but still I have never adopted his sentiments, unless the truth of them had been confirmed by my own observation. From him I have been favoured with a communication of such circ.u.mstances respecting them as occurred during the revolution, when I was absent from Paris. You may therefore confidently rely on the candour and impartiality of my general sketch of the theatres; and if the stage be considered as a mirror which reflects the public mind, you will thence be enabled to appreciate the taste of the Parisians. Without forgetting that

"_La critique est aisee, mais l'art est difficile_,"

I shall indulge the hope that you will be persuaded that truth alone has guided my pen in this attempt to trace the attractions of the

THeaTRE FRANcAIS DE LA RePUBLIQUE.

The house, now occupied by the performers of this theatre, was built at the beginning of the revolution by the late duke of Orleans, who, according to the opinion of those best acquainted with his schemes of profit, intended it for the representation of the grand French opera, for which, nevertheless, it is not sufficiently s.p.a.cious.

It stands adjoining to the south-west angle of the _Palais du Tribunat_, with its front entrance in the _Rue de la Loi_. Its facade presents a row of twelve Doric columns, surmounted by as many Corinthian pilasters, crowned by their entablature. On the first story is an exterior gallery; ornamented by an iron bal.u.s.trade, which runs the whole length of the facade, and communicates with the lobby.

On the north side, and at the back of the theatre, on the ground-floor, are several covered galleries, bordered by shops, which communicate with the _Rue St. Honore_ and the _Palais du Tribunat_.

The vestibule, where four stair-cases terminate, is of an elliptic form, surrounded by three rows of Doric pillars. Above the vestibule, which is on the ground-floor, are the pit and lobby. The inside of the house, which is immoderately lofty, presents seven tiers of boxes, and, in the circ.u.mference, six Corinthian pillars. The ornaments, numerously scattered, are in relief. At a certain elevation, the plan of the house is changed by a recess made facing the stage. Two angels, above the stage-boxes, shock the eye by their enormous size. The boxes to the number of two hundred and twenty-two, are said to contain thirteen hundred persons; and the pit, including the _orchestre_,[1] seven hundred and twenty-four, making in all two thousand and twenty persons. The construction of this house is remarkable for iron only being employed in lieu of wood. The architect was LOUIS.

This theatre, which was begun in 1787, was finished in 1790, when, all privileges having been done away, it was first opened by a company of French comedians, who played tragedy and comedy. It then took the name of _Theatre Francais de la Rue de Richelieu_, which street was afterwards and is now called _Rue de la Loi_. Being opened at the commencement of the revolution, it naturally adopted its principles; and, when the National Convention had proclaimed the Republic, it a.s.sumed the pompous name of _Theatre de la Republique_.

The greater part of the actors who performed here, rendered themselves remarkable for their _revolutionary_ ardour, and, during the reign of terror, it became a privileged theatre.

The _Comedie Francaise_ in the _Faubourg St. Germain_, which, in its interior, presented the handsomest playhouse in Paris, was called _l'Odeon_ a few years ago, and, since then, has been reduced by fire to a mere sh.e.l.l, the walls only being left standing. In 1789, this theatre appeared to follow the torrent of the revolution, and changed its name for that of _Theatre de la Nation_. Nevertheless, the actors did not, on that account, relinquish the t.i.tle of _Comediens ordinaires du Roi_. Shortly after, they even became, in general, the declared partisans of the old _regime_, or at least of the court.

Their house was frequently an _arena_ where the two parties came to blows, particularly on the occasion of the tragedy of _Charles Neuf_, by CHeNIER, and of the comedy of _L'Ami des Loix_. The former of these pieces, represented in the first ebullition of the revolution, was directed against the court; and the comedians refused to bring it on the stage, at the time of the a.s.semblage of the national guards in Paris, on the 14th of July, 1790, known by the t.i.tle of _Federation_.

The latter was played after the ma.s.sacres of September 1792, and had been composed with the laudable view of bringing back the public mind to sentiments of humanity, justice, and moderation. The maxims which it contained, being diametrically opposite to those of the plunderers who then reigned, that is, the members of the _commune_ of Paris, the minority of the National Convention, the Jacobins, Cordeliers, &c.

they interrupted the representation, and, after a great uproar, the piece was prohibited.

This minority of which I have just spoken, having succeeded in subduing the majority, nothing now stopped the rage of the revolutionary party. All those who gave them umbrage were imprisoned, and put to death with the forms of law. The comedians of the French theatre were thrown into prison; it appears that they were, both men and women, partly destined for the scaffold, and that if they escaped, it was through the address of a clerk of one of the Committees of Public Welfare or of Public Safety, who repeatedly concealed the doc.u.ments containing the charges brought against them.

It is said that the comedians purpose to prove their grat.i.tude, so long delayed, to this young man, without putting themselves to any expense, by giving for his benefit an extraordinary representation.[2]

At length the happy 9th of Thermidor arrived; the prisons were thrown open; and, as you may well imagine in such a nation as this, the French comedians were not the last to be set at liberty. However, their theatre was not immediately restored to them. It was occupied by a sort of b.a.s.t.a.r.d _spectacle_, with the actors of which they were then obliged to form an a.s.sociation. This did not last long. The French comedians were received by the manager of the lyric theatre of the _Rue Feydeau_, whom they afterwards ruined. The actors of comedy, properly so called, contrived to expel those of tragedy, with whom they thought they could dispense; and, shortly, they themselves, notwithstanding their reputation, were deserted by the public. The heroes and heroines, with Mademoiselle RAUCOURT at their head, took possession of the theatre of the _Rue de Louvois_, and there prospered. But, after the 18th of Fructidor, (5th of September, 1797) the Directory caused this house to be shut up: the reason a.s.signed was the representation given here of a little comedy, of ancient date however, and of no great importance, in which a knavish valet is called MERLIN, as was the Minister of Justice of that day, who since became director, not of the theatre, but of the republic.

Mademoiselle RAUCOURT, who was directress of this theatre, returned with her company to the old theatre of the _Faubourg St. Germain_, which then took the name of _l'Odeon_.

In the mean time, the theatre of the _Rue de Richelieu_ had perceptibly declined, after the fall of Robespierre, and the public appeared to have come to a positive determination to frequent it no longer. The manager of the _Theatre Feydeau_, M. SARGENT, formerly a banker, who was rich, and enjoyed a good reputation, succeeded in uniting all the actors of the _Comedie Francaise_ and those of the _Theatre de la Republique_. This effected his own ruin. When he had relinquished the management of the undertaking, the government took it in hand, and definitively organized this tragic and comic a.s.sociation, to superintend which it appointed a special commissioner.

The _repertoire_ (or list of pieces which are here played habitually, or have been acted with applause) is amazingly well furnished, and does infinite honour to French literature. It may be divided into two parts, the ancient and the modern. It is the former that deserves the encomium which I have just bestowed. In the line of Tragedy, it is composed of the greater part of the pieces of the four princ.i.p.al pillars of the temple of the French Melpomene: namely CORNEILLE[3], RACINE, CReBILLON, and VOLTAIRE, to whom may be added DU BELLOY, as well as of some detached pieces, such as _Iphigenie en Tauride_ by GUIMOND DE LA TOUCHE, _Le Comte de Warwick_ and _Philoctete_ by LA HARPE. The modern _repertoire_, or list of stock-pieces, is formed of the tragedies of M. M. DUCIS, CHeNIER, ARNAULT, LEGOUVe, and LE MERCIER.

In the line of Comedy, it is also very rich. You know that, at the head of the French comic authors, stands MOLIeRE, who, in this country at least, has no equal, either among the ancients or the moderns. Several of his pieces are still represented, though they are not numerously attended; as well because manners are changed, as because the actors are no longer able to perform them. Next to MOLIeRE, but at a great interval, comes REGNARD, whom the French comedians have deserted, for much the same reason: they no longer give any plays from the pen of this author, who possessed the _vis comica_, except _Les Folies Amoureuses_, a pretty little comedy in three acts. We no longer hear of his _Joueur_ and his _Legataire Universel_, which are _chefs d'oeuvre_. There are likewise the works of DESTOUCHES, who has written _Le Glorieux, Le Dissipateur_, and _La Fausse Agnes_, which are always played with applause. _Le Mechant_, by GRESSET, is a masterpiece in point of style, and _La Metromanie_, by PIRON, the best of French comedies, next to those of MOLIeRE and REGNARD. Then come the works of LA CHAUSSeE, who is the father of the _drame_, and whose pieces are no longer represented, though he has composed several, such as _La Gouvernante_, _L'ecole des Meres_, _Le Prejuge a la Mode_, which, notwithstanding, their whining style, are not dest.i.tute of merit, and those of DANCOURT, who has written several little comedies, of a very lively cast, which are still played, and those of MARIVAUX, whose old metaphysical jargon still pleases such persons as have their head full of love. I might augment this list by the name of several other old authors, whose productions have more or less merit.

The number of modern French comic authors is very limited; for it is not even worthwhile to speak of a few little comedies in one act, the t.i.tle of which the public scarcely remember. According to this calculation, there is but one single comic author now living. That is COLIN D'HARLEVILLE, who has written _L'Inconstant_, _Les Chateaux en Espagne_, _Le Vieux Celibataire_, and _Les Moeurs du Jour_, which are still represented. _Le Vieux Celibataire_ is always received with much applause. In general, the pieces of M. COLIN are cold, but his style is frequently graceful: he writes in verse; and the whole part of _L'Inconstant_ is very agreeably written. Indeed, that piece is the best of this author.

FABRE D'EGLANTINE is celebrated as an actor in the revolution (I mean on the political stage), and as the author who has produced the best piece that has appeared since _La Metromanie_. It is the _Philinte de Moliere_, which, in some measure, forms a sequel to the comedy of the _Misanthrope_. Nevertheless, this t.i.tle is ill chosen; for the character of the _Philinte_ in the piece of MOLIeRE, and that of FABRE'S piece scarcely bear any resemblance. We might rather call it the _egoiste_. Although the comic part of it is weak, the piece is strongly conceived, the fable very well managed, the style nervous but harsh, and the third act is a _chef-d'oeuvre_.

Since the death of FABRE, another piece of his has been acted, ent.i.tled _Le Precepteur_. In this piece are to be recognized both his manner and his affected philosophical opinions. His object is to vaunt the excellence of the education recommended by J. J. ROUSSEAU, though the revolution has, in a great measure, proved the fallacy of the principles which it inculcates. As these, however, are presented with art, the piece had some success, and still maintains its ground on the stage. It was played for the first time about two years ago.

The surname of EGLANTINE, which FABRE a.s.sumed, arose from his having won the prize at the Floral games at Toulouse. The prize consisted of an _eglantine_ or wild rose in gold. Before he became a dramatic author, he was an actor and a very bad actor. Being nominated member of the National Convention, he distinguished himself in that a.s.sembly, not by oratorical talents, but by a great deal of villainy.

He did not think as he acted or spoke. When the _montagnards_[4] or mountaineers, that is, those monsters who were always thirsting for blood, divided, he appeared for some time to belong to the party of DANTON, who, however, denied him when they were both in presence of each other at the bar of the revolutionary tribunal. DANTON insisted that he who had been brought to trial for a just cause, if not a just motive, ought not to be confounded with stealers of port-folios.[5]

They were both sentenced to die, and accordingly executed.

Among the comic authors of our age, some people would reckon DUMOUSTIER, whose person was held in esteem, but whose works are below mediocrity. They are _Le Conciliateur_, a comedy in five acts, and _Les Femmes_, a comedy in three acts. The latter appears to be the picture of a brothel. They are both still played, and both have much vogue, which announces the total decline of the art.

There is a third species of dramatic composition, proscribed by the rules of good taste, and which is neither tragedy nor comedy, but partic.i.p.ates of both. It is here termed _drame_. Although LA CHAUSSeE is the father of this tragi-comic species of writing, he had not, however, written any _tragedies bourgeoises_, and the French declare that we have communicated to them this contagion; for their first _drame_, _Beverley, ou le Joueur Anglais_ is a translation in verse from the piece of that name of our theatre. The celebrated LEKAIN[6]

opposed its being acted, and affirmed with reason that this mixture of the two species of drama hurt them both. MOLe, who was fond of applause easily obtained, was the protector of the piece, and played the part of _Beverley_ with success; but this _drame_ is no longer performed on the Parisian stage. Next to this, comes _Le Pere de Famille_, by DIDEROT. It is a long sermon. However, it presents characters well drawn. This species of composition is so easy that the number of _drames_ is considerable; but scarcely any of them are now performed, except _Eugenie_ and _La Mere Coupable_, by BEAUMARCHAIS,[7] which are frequently represented. I shall not finish this article without reminding you that MERCIER has written so many _drames_ that he has been called _Le Dramaturge_. All his are become the prey of the little theatres and the aliment of the provincial departments. This circ.u.mstance alone would suffice to prove the mediocrity of the _drame_. MONVEL, of whom I shall soon have occasion to speak, would well deserve the same t.i.tle.

[Footnote 1: This is a place, so called in French theatres, comprising four or five rows of benches, parted off, between the place where the musicians are seated and the front of the pit.]

[Footnote 2: It is not mentioned whether these sons and daughters of Thespis, who have since gained a great deal of money, have offered any _private_ remuneration to their benefactor, rather to their guardian-angel.] [TRANSCRIBER'S NOTE: The scan of this footnote was imperfect. Some of the text was interpolated.]

[Footnote 3: Of course, PIERRE CORNEILLE is here meant. THOMAS CORNEILLE, who was surnamed the Great, must not, however be forgotten. THOMAS is the author of _Ariane_ and _le Comte d'Ess.e.x_, a tragedy much esteemed, and which is deserving of estimation.]

[Footnote 4: Thus called, because they formed a very close and very elevated group at one of the extremities of the hall of the National Convention.]

[Footnote 5: FABRE D'EGLANTINE was tried for having, in concert with certain stock-jobbers, proposed and caused the adoption of decrees concerning the finances.]

[Footnote 6: LEKAIN said humourously that to play the _drame_ well, it was sufficient to know how to make a summerset.]

[Footnote 7: Every one is acquainted with the two comedies written by this author, _Le Barbier de Seville_ and _Le Mariage de Figaro_. The astonis.h.i.+ng run of the latter, which was acted one hundred and fifty succeeding nights, was greatly owing to BEAUMARCHAIS having there turned into ridicule several persons of note in the ministry and the parliament: _La Mere Coupable_, which is often given, is the sequel to _Le Mariage de Figaro_, as that piece is to _Le Barbier de Seville_.]

LETTER LIV.

_Paris, January 20, 1802._

Let us now examine the merits of the princ.i.p.al performers belonging to the _Theatre Francais_.

TRAGEDY.

_n.o.ble Fathers, or characters of Kings_.

VANHOVE, MONVEL, ST. PRIX, and NAUDET.

VANHOVE. This king of the _Theatre Francais_ neither has majesty nor n.o.bleness of manner. His countenance is mean, and his make common.

His monotonous and heavy utterance is sometimes intermingled with yelping sounds. He possesses no sensibility, and subst.i.tutes noise for expression. His mediocrity caused him to be received at the old _Comedie Francaise_; for the first or princ.i.p.al actors of that theatre were rather fond of receiving persons of weak talents, merely that they might be set off. He _doubled_ BRIZARD, whom nature had endowed with the happiest gifts for tragedy.