  Paris, January 19, 1802. When you expressed your impatience to be informed of the dramatic amusements 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 principal 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 quantity 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 circumstances 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 aisÉe, 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 THÉÂTRE FRANÇAIS DE LA RÉPUBLIQUE. 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 spacious. It stands adjoining to the south-west angle of the Palais du Tribunat, with its front entrance in the Rue de la Loi. Its faÇade 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 balustrade, which runs the whole length of the faÇade, 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. HonorÉ 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 circumference, 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. 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 ThÉÂtre FranÇais 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 assumed the pompous name of ThÉÂtre de la RÉpublique. 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 ComÉdie FranÇaise in the Faubourg St. Germain, which, in its interior, presented the handsomest playhouse in Paris, was called l'OdÉon a few years ago, and, since then, has been reduced by fire to a mere shell, 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 ThÉÂtre de la Nation. Nevertheless, the actors did not, on that account, relinquish the title of ComÉdiens ordinaires du Roi. Shortly after, they even became, in general, the declared partisans of the old rÉgime, 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 CHÉNIER, 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 assemblage of the national guards in Paris, on the 14th of July, 1790, known by the title of Federation. The latter was played after the massacres 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 documents containing the charges brought against them. 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 bastard spectacle, with the actors of which they were then obliged to form an association. 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 assigned 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'OdÉon. 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 ThÉÂtre Feydeau, M. SARGENT, formerly a banker, who was rich, and enjoyed a good reputation, succeeded in uniting all the actors of the ComÉdie FranÇaise and those of the ThÉÂtre de la RÉpublique. 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 association, 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 Comedy, it is also very rich. You know that, at the head of the French comic authors, stands MOLIÈRE, 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 MOLIÈRE, 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 LÉgataire Universel, which are chefs d'oeuvre. There are likewise the works of DESTOUCHES, who has written Le Glorieux, Le Dissipateur, and La Fausse AgnÈs, which are always played with applause. Le MÉchant, by GRESSET, is a masterpiece in point of style, and La MÉtromanie, by PIRON, the best of French comedies, next to those of MOLIÈRE and REGNARD. Then come the works of LA CHAUSSÉE, who is the father of the drame, and whose pieces are no longer represented, though he has composed several, such as La Gouvernante, L'École des MÈres, Le PrÉjugÉ À la Mode, which, notwithstanding, their whining style, are not destitute 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 title 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 ChÂteaux en Espagne, Le Vieux CÉlibataire, and Les Moeurs du Jour, which are still represented. Le Vieux CÉlibataire 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 MÉtromanie. It is the Philinte de MoliÈre, which, in some measure, forms a sequel to the comedy of the Misanthrope. Nevertheless, this title is ill chosen; for the character of the Philinte in the piece of MOLIÈRE, and that of FABRE'S piece scarcely bear any resemblance. We might rather call it the Égoiste. 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, entitled Le PrÉcepteur. 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 assumed, 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 assembly, not by oratorical talents, but by a great deal of villainy. 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 participates of both. It is here termed drame. Although LA CHAUSSÉE is the father of this tragi-comic species of writing, he had not, however, written any tragÉdies 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. |
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