As to the action of the piece, the only thing that showed Irving's great ability was the scene in the forest of Montmorency, where, as Robespierre, he reveals at one moment, in his talk with the English envoy, his ambition, his overestimate of himself, his suspicion of everybody and everything, his willingness to be cruel to any extent in order to baffle possible enemies; and then, next moment, on the arrival of his young friends, boys and girls, the sentimental, Rousseau side of his character. This transition was very striking. The changes in the expression of Irving's face were marvelous—as wonderful as those in his Louis XI; but that was very nearly all. In everything else, Coquelin, as I had seen him in Sardou's "Thermidor," was infinitely better.
Besides this, the piece was, in general, grotesquely unhistorical. It exhibits Robespierre's colleagues in the Committee of Public Safety as noisy and dirty street blackguards. Now, bad as they were, they were not at all of that species, nor did their deliberations take place in the manner depicted. Billaud-Varennes is represented as a drunken vagabond sitting on a table at the committee and declaiming. He was not this at all, nor was Tallien, vile as he was, anything like the blackguard shown in this piece.
The final scene, in which Robespierre is brought under accusation by the Convention, was vastly inferior to the same thing in "Thermidor"; and, what was worse, instead of paraphrasing or translating the speeches of Billaud-Varennes, Tallien, and Robespierre, which he might have found in the "Moniteur," Sardou, or rather Irving, makes the leading characters yell harangues very much of the sort which would be made in a meeting of drunken dock laborers to-day. Irving's part in this was not at all well done. The unhistorical details now came thick and fast, among them his putting his head down on the table of the tribune as a sign of exhaustion, and then, at the close, shooting himself in front of the tribunal. If he did shoot himself, which is doubtful, it was neither at that time nor in that place.
But, worst of all, the character of Robespierre was made far too melodramatic, and was utterly unworthy of Irving, whom, in all his other pieces, I have vastly admired. He completely misconceives his hero. Instead of representing him as, from first to last, a shallow Rousseau sentimentalist, with the proper mixture of vanity, suspicion, and cruelty, he puts into him a great deal too much of the ruffian, which was not at all in Robespierre's character.
The most striking scene in the whole was the roll-call at the prison. This was perhaps better than that in Sardou's "Thermidor," and the tableaux were decidedly better.
The scene at the "Festival of the Supreme Being" was also very striking, and in many respects historical; but, unless I am greatly mistaken, the performance referred to did not take place as represented, but in the garden directly in front of the Tuileries. The family scene at the house of Duplay the carpenter was exceedingly well managed; old Duplay, smoking his pipe, listening to his daughters playing on a spinet and singing sentimental songs of the Rousseau period, was perfect. The old carpenter and his family evidently felt that the golden age had at last arrived; that humanity was at the end of its troubles; and that the world was indebted for it all to their lodger Robespierre, who sat in the midst of them reading, writing, and enjoying the coddling and applause lavished upon him. And he and they were to go to the guillotine within a week!
Incidentally there came a little touch worthy of Sardou; for, as Robespierre reads his letters, he finds one from his brother, in which he speaks of a young soldier and revolutionist of ability whose acquaintance he has just made, whom he very much likes, and whose republicanism he thoroughly indorses—one Buonaparte. This might have occurred, and very likely did occur, very much as shown on the stage; for one of the charges which nearly cost Bonaparte his life on the Ninth Thermidor was that he was on friendly terms with the younger Robespierre, who was executed with his more famous brother.
On the whole, the play was very disappointing. It would certainly have been hissed at the Porte St. Martin, and probably at any other Paris theater.
June 1.
Having left London last evening, I arrived at The Hague early this morning and found, to my great satisfaction, that the subcommittee of the third committee had unanimously adopted the American plan of "seconding powers," and that our whole general plan of arbitration will be to-day in print and translated into French for presentation. I also find that Sir Julian Pauncefote's arbitration project has admirable points.