Elles sont dans ma malle!
This is a custom, therefore, which French actresses derive from no less a person than Nero. This gentleman, moreover, invariably spoke well of every other actor to that actor’s face, but never at any other time. If this custom has survived—which is, of course, hardly possible—he who practises it can justify himself, if he pleases, by this Neronic example.
Although it was death to leave the theatre before the imperial amateur had finished his part, there were some people who could not ‘stand it,’ but who must have handsomely tipped the incorruptible Roman guard to be allowed to vanish from the scene. There were others who insisted on being on the point of death, but it is not to be supposed that they were carried home without being munificently profuse in their recompense. There was no shamming on the part of the indefatigable Roman ladies, who, it is said, sometimes added a unit to the audience and a new member to the roll of Roman citizens, before they could be got away. And, when a man ran from the theatre, dropped from the walls of the town, and took to his heels across country, he must have been even more disgusted with the great amateur than you are, my dear reader, with, let us say, your favourite worst actor on any stage. Exit Nero, histrio et imperator.
Some one has said that the Italians had not the necessary genius for acting. Ristori has wiped out that reproach. Private theatricals may be said to have been much followed by them. Plays were acted before popes just as they used to be (and on Sundays too) before our bishops. It is on record that the holiest of Holy Fathers have held their sides as they laughed at the ‘imitations’ of English archbishops given to the life by English bishops on mission to Rome; and, on the other hand, there is no comedy so rich as that to be seen and heard in private, acted by a clever, joyous Irish priest, imitating the voice, matter, and manner of the street preachers in Italy. Poliziano’s ‘Orfeo,’ which inaugurated Italian tragedy, was first played in private before Lorenzo the Magnificent. Italian monks used to act Plautus and Terence, and the nuns of Venice were once famous for the perfection with which they acted tragedy in private to select audiences.
Altogether, it seems absurd for anyone to have said that the Italians had not the genius for acting. Groto, the poet—‘the blind man of Adria’—played Œdipus, in Palladio’s theatre at Vicenza, in the most impressive style. Salvator Rosa, the grandest of painters, was the most laughable of low comedians; and probably no Italian has played Saul better than Alfieri, who wrote the tragedy which bears that name.
In France, private theatricals may be said to date from the seventeenth century; but there, as in England, were to be found, long before, especial ‘troops’ in the service of princes and nobles. We are pleased to make record of the fact that Richard III., so early as the time when he was the young Duke of Gloucester, was the first English prince who maintained his own private company of actors, of whom he was the appreciating and generous master. No doubt, after listening to them in the hall of his London mansion, he occasionally gave them an ‘outing’ on his manor at Notting Hill. We have more respect for Duke, or King, Richard, as patron of actors, than we have for Louis XIV. turning amateur player himself, and not only ‘spouting’ verses, but acting parts, singing in operas, and even dancing in the ballets of Benserade and the divertissements of Molière. Quite another type of the amateur actor is to be found in Voltaire. On the famous private stage of the Duchess of Maine, Voltaire acted (in ‘Rome sauvée’) Cicero to the Lentulus of the professional actor, Lekain. If we may believe the illustrious actor himself, nothing could be more truthful, more pathetic, more Roman, than the poet, in the character of the great author.
Voltaire prepared at least one comedy for private representation on the Duchess’s stage, or on that of some other of his noble friends. A very curious story is connected with this piece. It bore the title of ‘Le Comte de Boursoufle.’ After being acted by amateurs, in various noble houses, it gave way to other pieces, the manuscript was put by, and the play was forgotten. Eleven years ago, however, the manuscript of the comedy, in Voltaire’s handwriting, was discovered, and ‘Le Comte de Boursoufle’ was produced at the Odéon. M. Jules Janin and all the French theatrical critics were in a flutter of convulsive delight at the recovery of this comedy. Some persons there were who asked if there was any doubt on the matter, or was the piece by any other clever Frenchman. They were laughed to scorn. The comedy was so full of wit and satire that it could only be the work of the wittiest and most satirical of Frenchmen. ‘If it is not Voltaire’s,’ it was asked, ‘whose could it possibly be?’ This question was answered immediately by the critics in this country, who pointed out that ‘Le Comte de Boursoufle,’ which Voltaire had prepared for a company of private actors, was neither more nor less than an exact translation of Sir John Vanbrugh’s ‘Relapse.’
Private theatricals in France became a sort of institution. They not only formed a part, often a very magnificent part, of the noble mansions of princes, dukes, marquesses, et tout ça, but the theatre was the most exquisite and luxurious portion of the residences of the most celebrated and prodigal actresses. Mademoiselle Guimard, to surpass her contemporaries, possessed two; one in her magnificent house in the Chaussée d’Antin, the other in her villa at Pantin. The one in Paris was such a scene of taste, splendour, extravagance, and scandal, that private boxes, so private that nobody could be seen behind the gilded gratings, were invented for the use and enjoyment of very great ladies. These, wishing to be witnesses of what was being acted on and before the stage, without being supposed to be present themselves, were admitted by a private door, and after seeing all they came to see, and much more, perhaps, than they expected, these high and virtuous dames, wrapped their goodly lace mantles about them, glided down the private staircase to their carriages, and thought La Guimard was the most amiable hussey on or off the stage.
Voltaire’s private theatre, at Monrepos, near Lausanne, has been for ever attached to history by the dignified pen of Gibbon. The great historian’s chief gratification, when he lived at Lausanne, was in hearing Voltaire in the Frenchman’s own tragedies on his own stage. The ‘ladies and gentlemen’ of the company were not geniuses, for Gibbon says of them in his ‘Life,’ that ‘some of them were not destitute of talents.’ The theatre is described as ‘decent.’ The costumes were ‘provided at the expense of the actors,’ and we may guess how the stage was stringently managed, when we learn that ‘the author directed the rehearsals with the zeal and attention of paternal love.’ In his own tragedies, Voltaire represented Lusignan, Alvarez, Benassur, Euphemon, &c. ‘His declamation,’ says Gibbon, ‘was fashioned to the pomp and cadence of the old stage; and he expressed the enthusiasm of poetry rather than the feelings of nature.’ This sing-song style, by which diversified dramas, stilted rather than heroic, horribly dull rather than elevated and stirring, had an effect on Gibbon such as we should never have expected in him, or in any Englishman, we may say on any created being with common sense, in any part of the civilised world. His taste for the French theatre became fortified, and he tells us, ‘that taste has perhaps abated my idolatry for the gigantic genius of Shakespeare, which is inculcated in our infancy as the first duty of Englishmen.’ This is wonderful to read, and almost impossible to believe. We may give more credit to the assertion that ‘the wit and philosophy of Voltaire, his table and theatre, refined in a visible degree the manners of Lausanne.’ It is worthy of note that a tragedy of Voltaire’s is now rarely, if ever, acted. We question if one of his most popular pieces, ‘Adélaïde Du Guesclin,’ has ever been played since it was given at the Théâtre Français (spectacle gratis), 1822, on occasion of the baptism of the Duc de Bordeaux, whom we now better know as the Comte de Chambord, and who knows himself only as ‘Henry V., Roi de France et de Navarre.’
One of Voltaire’s favourite stage pupils was an actor named Paulin, who played a tyrant in the Lausanne company. Voltaire had great hopes of him, and he especially hoped to make much of him as Polifonte, in Voltaire’s tragedy ‘Mérope.’ At the rehearsals, Voltaire, as was customary with him, overwhelmed the performers with his corrections. He sat up one night, to re-write portions of the character of the tyrant Polifonte, and at three in the morning he aroused his servant and bade him carry the new manuscript to Paulin. ‘Sir,’ said the man, ‘at such an unseasonable hour as this M. Paulin will be fast asleep, and there will be no getting into his house.’ ‘Go! run!’ exclaimed Voltaire, in tragic tones. ‘Know that tyrants never sleep!’