Paris as It Was and as It Is Part 50

Mademoiselle BOURGOIN. With respect to this young lady, a powerful protection serves her in lieu of talent; for she is handsome. She persists in playing tragedy, which is not her fort. In comedy, she appears to advantage.

Mademoiselle VOLNAIS. This is a very young girl. All she says is in a crying tone, and what is worse, she seems not to comprehend what she says. In the characters which she first represented she was very successful, but is no longer so at the present day.

_Characters of Confidantes._

Mesdames SUIN and THeNARD.

There are two only who are deserving of notice. The one is Madame SUIN, who certainly justifies the character she bears of a woman of judgment; for she has the most just delivery of all the performers belonging to the _Theatre Francais_; but she is advanced in years, and the public often treat her with rudeness. The other confidante is Mademoiselle THeNARD, who has played the parts of princesses at this theatre with a partial success.

There are also other confidantes, whom it is not worth while to mention.

I shall conclude this account of the tragedians belonging to the _Theatre Francais_, by observing that the revolution is said to have given a new turn to the mind and character of the French women; and the success which several actresses, at this day obtain in the dramatic career, in the line of tragedy, is quoted in support of this opinion. For a number of years past, as has been seen, Melpomene seemed to have placed the diadem on the head of Mademoiselle RAUCOURT, and this tragic queen would probably have grown gray under the garments of royalty, had not the revolution imparted to her s.e.x a degree of energy sufficient for them to dispute her empire. Women here have seen so many instances of cruelty, during the last ten or twelve years, they have partic.i.p.ated, in a manner more or less direct, in an order of things so replete with tragical events, that those among them who feel a _penchant_ for the stage, find themselves, in consequence, disposed to figure in tragedy.[10]

[Footnote 1: _Fenelon_ is no longer performed. It is a very bad tragedy by _Chenier_.]

[Footnote 2: There are players members of the National Inst.i.tute.

MONVEL belongs to the Cla.s.s of Literature and the Fine Arts.]

[Footnote 3: Notwithstanding the ill effects likely to result from such doctrine, far more dangerous to society than the poniards of a host of a.s.sa.s.sins, it appears that, when those actors called terrorists, or partisans of terror, were hunted down, MONVEL was not molested.]

[Footnote 4: There are a great many enthusiastic admirers of his talent.]

[Footnote 5: It is really to TALMA that the French are indebted for the exact truth of costume which is at this day to be admired on the theatres of Paris, especially in new pieces. An inhabitant of a country the most remote might believe himself in his native land; and were an ancient Greek or Roman to come to life again, he might imagine that the fas.h.i.+on of his day had experienced no alteration.]

[Footnote 6: The subject of it is the ma.s.sacre of St. Bartholomew's day.]

[Footnote 7: He wears his hair cut short, and without powder.]

[Footnote 8: One evening at the opera, M. DE DURAS authoritatively took possession of a box hired for the night by another person. The latter, dreading his power, but at the same time desirous to stigmatize him, said: "'Tis not he who took Minorca, 'tis not he who took this place nor that, the man of whom I complain, never took any thing in his life but my box at the opera!"]

[Footnote 9: All the princes and princesses of the House of Austria have the under-lip very prominent.]

[Footnote 10: The example of Mesdemoiselles BOURGOIN and VOLNAIS having proved that first-rate talents were not necessary for being received at the _Theatre Francais_, as a tragic queen or princess, the number of candidates rapidly increased. For several months past, the merit of these _debutantes_ has been the general concern of all Paris. Each had her instructor, and, of course, was carefully tutored for the occasion.

M. LEGOUVe, the tragic writer, first brought forward on this stage Mademoiselle d.u.c.h.eSNOIS, a girl about twenty, extremely ill-favoured by nature. DUGAZON, the actor, next introduced Madame XAVIER, a very handsome and elegant woman. Lastly, Mademoiselle RAUCOURT presented her pupil, Mademoiselle GEORGES WEIMER, a young girl of perfect beauty. Mademoiselle d.u.c.h.eSNOIS played _Phedre_, in RACINE'S tragedy of that name, seven successive times. She certainly displayed a semblance of sensibility, and, notwithstanding the disadvantages of her person, produced such an effect on the senses of the debauched Parisian youth by the libidinous manner she adopted in the scene where _Phedre_ declares her unconquerable pa.s.sion for her son-in-law _Hippolyte_, that her success was complete. What greater proof can be adduced of the vitiated taste of the male part of the audience? She also performed _Semiramis_, _Didon_, and _Hermione_; but in the first two characters she betrayed her deficiency. The next who entered the lists was Madame XAVIER. On her _debut_ in _Semiramis_, she was favourably received by the public; but, afterwards, choosing to act _Hermione_, the partisans of Mademoiselle d.u.c.h.eSNOIS a.s.sembled in such numbers as to const.i.tute a decided majority in the theatre. Not content with interrupting Madame XAVIER, and hissing her off the stage, they waited for her at the door of the play-house, and loaded her with the grossest abuse and imprecations. Lastly appeared Mademoiselle GEORGES WEIMER. Warned by the disgraceful conduct of the _d.u.c.h.esnistes_ (as they are called) towards Madame XAVIER, the comedians, by issuing a great number of _orders_, contrived to antic.i.p.ate them, and obtain a majority, especially in the pit.

Mademoiselle GEORGES made her _debut_ in the character of _c.l.i.temnestre_, and was well received. Her beauty excited enthusiasm, and effected a wonderful change in public opinion. After playing several parts in which Mademoiselle d.u.c.h.eSNOIS had either failed, or was afraid to appear, she at last ventured to rival her in that of _Phedre_. At the first representation of the piece, Mademoiselle GEORGES obtained only a partial success; but, at the second, she was more fortunate. The consequence, however, had well nigh proved truly tragic. The _d.u.c.h.esnistes_ and _Georgistes_ had each taken their posts, the one on the right side of the pit; the other, on the left.

When Mademoiselle GEORGES was called for after the performance, and came forward, in order to be applauded, the former party hissed her, when the latter falling on them, a general battle ensued. The guard was introduced to separate the combatants; but the _d.u.c.h.esnistes_ were routed; and, being the aggressors, several of them were conducted to prison. The First Consul a.s.sisted at this representation; yet his presence had no effect whatever in restraining the violence of these dramatic factions.

Since then, Mesdemoiselles d.u.c.h.eSNOIS and GEORGES have both been received into the company of the _Theatre Francais_. Madame XAVIER has returned to the provinces.]

LETTER LV.

_Paris, January 22, 1802._

The observation with which I concluded my last letter, might explain why the votaries of Thalia gain so little augmentation to their number; while those of Melpomene are daily increasing. I shall now proceed to investigate the merits of the former, at the _Theatre Francais_.

COMEDY.

_Parts of n.o.ble Fathers._

VANHOVE and NAUDET.

VANHOVE. This actor is rather more sufferable in comedy than tragedy; but in both he is very monotonous, and justifies the lines applied to him by a modern satirist, M. DESPAZE:

"VANHOVE, _plus heureux, psalmodie a mon gre; Quel succes l'attendait, s'il eut ete Cure!_"

NAUDET. I have already said that the Reverend Father NAUDET, as he is called, played the parts of tyrants in tragedy. Never did tyrant appear so inoffensive. As well as VANHOVE, in comedy, he neither meets with censure nor applause from the public.

_First parts, or princ.i.p.al lovers, in Comedy._

MOLe, FLEURY, and BAPTISTE the elder.

MOLe. At this name I breathe. Perhaps you have imagined that ill-humour or caprice had till now guided my pen; but, could I praise the talent of MOLe as he deserves, you would renounce that opinion.

MOLe made his _debut_ at the _Comedie Francaise_ about forty-five years ago. He had some success; but as the Parisian public did not then become enthusiasts in favour of mere beginners, he was sent into the provinces to acquire practice. At the expiration of two or three years, he returned, and was received to play the parts of young lovers in tragedy and comedy. He had not all the n.o.bleness requisite for the first-mentioned line of acting; but he had warmth and an exquisite sensibility. In a word, he maintained his ground by the side of Mademoiselle DUMESNIL and LEKAIN, two of the greatest tragedians that ever adorned the French stage. For a long time he was famous in the parts of _pet.i.ts-maitres_, in which he shone by his vivacity, levity, and grace.

This actor was ambitious in his profession. Although applauded, and perhaps more so than LEKAIN, he was perfectly sensible that he produced not such great, such terrible effects; and he favoured the introduction of the _drame_, which is a mixture of tragedy and comedy. But those who most detest the whining style of this species of composition are compelled to acknowledge that MOLe was fascinating in the part of _St. Albin_, in DIDEROT'S _Pere de Famille_.

BELLECOURT being dead, MOLe took the first parts in comedy, with the exception of a few of those in which his predecessor excelled, whose greatest merit, I understand, was an air n.o.ble and imposing in the highest degree. As this was MOLe's greatest deficiency, he endeavoured to make amends for it by some perfection. He had no occasion to have recourse to art. It was sufficient for him to employ well the gifts lavished on him by nature. Though now verging on seventy, no one expresses love with more eloquence (for sounds too have theirs), or with more charm and fire than MOLe. In the fourth act of the _Misanthrope_, he ravishes and subdues the audience, when, after having overwhelmed _Celimene_ with reproaches, he paints to her the love with which he is inflamed. But this sentiment is not the only one in the expression of which MOLe is pre-eminently successful.

In the _Philinte de Moliere_, which also bears the t.i.tle of _La Suite du Misanthrope_, and in which FABRE D'EGLANTINE has presented the contrast between an egotist and a man who sacrifices his interest to that of his fellow-creatures, MOLe vents all the indignation of virtue with a warmth, a truth, and even a n.o.bleness which at this day belong only to himself. In short, he performs this part, in which the word _love_ is not once mentioned, with a perfection that he maintains from the first line to the last.

In the fifth act of _Le Dissipateur_ (a comedy by DESTOUCHES), when he sees himself forsaken by his companions of pleasure, and thinks he is so by his mistress too, the expression of his grief is so natural, that you imagine you see the tears trickling from his eyes. In moments when he pictures love, his voice, which at times is somewhat harsh, is softened, lowers its key, and (if I may so express myself) goes in search of his heart, in order to draw from it greater flexibility and feeling. The effect which he produces is irresistible and universal. Throughout the house the most profound silence is rigidly, but sympathetically enforced; so great is the apprehension of losing a single monosyllable in these interesting moments, which always appear too short. To this silence succeed shouts of acclamation and bursts of applause. I never knew any performer command the like but Mademoiselle SAINVAL the elder.

In no character which MOLe performs, does he ever fail to deserve applause; but there is one, above all, which has infinitely added to his reputation. It is that of the _Vieux Celibataire_ in the comedy of the same name by COLIN D'HARLEVILLE, which he personates with a good humoured frankness, an air of indolence and apathy, and at the same time a grace that will drive to despair any one who shall venture to take up this part after him. On seeing him in it, one can scarcely believe that he is the same man who renders with such warmth and feeling the part of _Alceste_ in the _Misanthrope_, and in the _Suite de Moliere_; but MOLe, imbibing his talent from nature, is diversified like her.

Caressed by the women, a.s.sociating with the most amiable persons both of the court and the town, and, in short, idolized by the public, till the revolution, no performer led a more agreeable life than MOLe. However, he was not proscribed through it, and this was his fault. Not having been imprisoned like the other actors of the old _Comedie Francaise_, he had no share in their triumph on their reappearance, and it even required all his talent to maintain his ground; but, as it appears that no serious error could be laid to his charge, and as every thing is forgotten in the progress of events, he resumed part of his ascendency. I shall terminate this article or panegyric, call it which you please, by observing that whenever MOLe shall retire from the _Theatre Francais_, and his age precludes a contrary hope, the best stock-pieces can no longer be acted.[1]

FLEURY. A man can no more be a comedian in spite of Thalia than a poet in spite of Minerva. Of this FLEURY affords a proof. This actor is indebted to the revolution for the reputation he now enjoys; but what is singular, it is not for having shewn himself the friend of that great political convulsion. Nature has done little for him. His appearance is common; his countenance, stern; his voice, hoa.r.s.e; and his delivery, embarra.s.sed; so much so that he speaks only by splitting his syllables. A stammering lover! MOLe, it is true, sometimes indulged in a sort of stammer, but it was suited to the moment, and not when he had to express the ardour of love. A lover, such as is represented to us in all French comedies, is a being highly favoured by Nature, and FLEURY shews him only as much neglected by her. A great deal of a.s.surance and a habit of the stage, a warmth which proceeds from the head only, and a sort of art to disguise his defects, with him supply the place of talent. Although naturally very heavy, he strives to appear light and airy in the parts of _pet.i.ts-maitres_, and his great means of success consist in turning round on his heel. He was calculated for playing _grims_ (which I shall soon explain), and he proves this truth in the little comedy of _Les Deux Pages_, taken from the life of the king of Prussia, the great Frederic, of whose caricature he is the living model. He wished to play capital parts, the parts of MOLe, and he completely failed. He ventured to appear in the _Inconstant_, in which MOLe is captivating, and it was only to his disgrace. Being compelled to relinquish this absurd pretension, he now confines himself to new or secondary parts, in the former of which he has to dread no humiliating comparison, and the latter are not worthy to be mentioned.

Friends within and without the theatre, and the spirit of party, have, however, brought FLEURY into fas.h.i.+on. He will, doubtless, preserve his vogue; for, in Paris, when a man has once got a name, he may dispense with talent:

"_Des reputations; on ne sait pourquoi!"

says GRESSET, the poet, in his comedy of _Le Mechant_, speaking of those which are acquired in the capital of France.

BAPTISTE the elder. But for the revolution, he too would, in all probability, never have figured on the _Theatre Francais_. When all privileges were abolished, a theatre was opened in the _Rue Culture St. Catherine_ in Paris, and BAPTISTE was sent for from Rouen to perform the first parts. In _Robert Chef des Brigands_ and _La Mere Coupable_, two _drames_, the one almost as full of improbabilities as the other, he had great success; but in _Le Glorieux_ he acquired a reputation almost as gigantic as his stature, and as brilliant as his coat covered with spangles. This was the part in which BELLECOURT excelled, and which had been respected even by MOLe. The latter at length appeared in it; but irony, which is the basis of this character, was not his talent: yet MOLe having seen the court, and knowing in what manner n.o.blemen conducted themselves, BAPTISTE had an opportunity of correcting himself by him in the part of _Le Glorieux_.

The _Theatre Francais_ being in want of a performer for such characters, BAPTISTE was called in. Figure to yourself the person of Don Quixote, and you will have an idea of that of this actor, whose countenance, however, is unmeaning, and whose voice seems to issue from the mouth of a speaking-trumpet.

Jeunes premiers, _or young lovers, in Comedy_.