Mademoiselle Dumesnil retired, as we have said, in 1776. The stage was next not unworthily occupied by Mdlle. Raucourt. But meanwhile there sprang up two young creatures destined to renew the rivalry which had existed between Clairon and Dumesnil. While these were growing up the French Revolution, which crushed all it touched, touched the Comédie Française, which fell to pieces. It pulled itself together, after a manner, but it was neither flourishing nor easy under the republic. The French stage paid its tribute to prison and to scaffold.
When the storm of the Revolution had swept by, that stage became once more full of talent and beauty. Talma reappeared, and soon after three actresses set the town mad. There was Mdlle. Georges, a dazzling beauty of sixteen, a mere child, who had come up from Normandy, and who knew nothing more of the stage than that richly dressed actors there represented the sorrows, passion, and heroism of ancient times. Of those ancient times she knew no more than what she had learned in Corneille and Racine. But she had no sooner trod the stage, as Agrippina, than she was at once accepted as a great mistress of her art. Her beauty, her voice, her smile, her genius and her talent, caused her to be hailed queen; but not quite unanimously. There was already a recognised queen of tragedy on the same stage, Mdlle. Duchesnois. This older queen (originally a dressmaker, next, like Mrs. Siddons, a lady’s-maid), was as noble an actress as Mdlle. Georges, but her noble style was not supported by personal beauty. She was, perhaps, the ugliest woman that had ever held an audience in thrall by force of her genius and ability alone. While song-writers celebrated the charms of Mdlle. Georges, portrait-painters, too cruelly faithful, placed the sublime ugliness of Mdlle. Duchesnois in the shop windows. There she was to be seen in character, with one of the lines she had to utter in it, as the epigraph:
Le roi parut touché de mes faibles attraits.
Even Talleyrand stooped to point a joke at her expense. A certain lady had no teeth. Mdlle. Duchesnois had, but they were not pleasant to see. ‘If,’ said Talleyrand, alluding to the certain lady, ‘If Madame —— had teeth, she would be as ugly as Mdlle. Duchesnois.’
Between these two queens of tragedy the company of the Théâtre Français were as divided in their allegiance as the public themselves. The Emperor Napoleon and Queen Hortense were admirers of Mdlle. Georges; he covered her with diamonds, and he is said to have lent her those of his wife Josephine, who was the friend of Mdlle. Duchesnois. Bourbonites and Republicans also adopted Mdlle. Duchesnois, who was adopted by Mdlle. Dumesnil. Talma paid allegiance to the same lady, while Lafon swore only by Mdlle. Georges, in whose behalf Mdlle. Raucourt once nearly strangled Duchesnois. In society, every member of that awful institution was compelled to choose a side and a night. One queen played on a Monday, the other on a Wednesday; Mdlle. Georges on a Friday, and Duchesnois again on Sunday; and on the intervening nights the brilliant muse of comedy, Mdlle. Mars (as the daughter of Monvel, the actor, always called herself), came and made Paris ecstatic with her Elmire, her Célimène, and other characters. Of these three supreme actresses, Mdlle. Mars alone never grew old on the stage, in voice, figure, movement, action, feature, or expression. I recollect her well at sixty, creating the part of Mdlle. de Belleisle, a young girl of sixteen; and Mdlle. Mars that night was sixteen, and no more. It was only by putting the binocle to the eyes that you might fancy you saw something older; but the voice! It was the pure, sweet, gentle, penetrating, delicious voice of her youth—ever youthful. Jules Janin describes the nights on which the brilliant and graceful Mdlle. Mars acted as intervals of inexpressible charm, moments of luxurious rest. Factions were silenced. The two queens of tragedy were forgotten for a night, and all the homage was for the queen of comedy.
The beauty, youth, and talent of Mdlle. Georges would probably have secured her seat on an undisputed throne, only for the caprices that accompany those three inestimable possessions. The youthful muse suddenly disappeared. She rose again in Russia, whither she had been tempted by the imperial liberality of Alexander the Czar. She was queening it there in more queenly fashion than ever; her name glittered on the walls of Moscow, when the Grand Army of France scattered all such glories and wrecked its own. A quarter of a million of men perished in that bloody drama, but the tragedy queen contrived to get safe and sound over the frontier.
Thenceforth she gleamed like a meteor from nation to nation. Mdlle. Duchesnois and Mdlle. Mars held the sceptres of tragedy and comedy between them. They reigned with glory, and when their evening of life came on they departed with dignity—Duchesnois in 1835. The more impetuous Mdlle. Georges flashed now here now there, and blinded spectators by her beauty, as she dazzled them by her talent. The joy of acting, the ecstasy of being applauded, soon became all she cared for. One time she was entrancing audiences in the most magnificent theatres; at another, she was playing with strollers on the most primitive of stages; but always with the same care. Now, the Parisians hailed the return of their queen; in a month she was acting Iphigenia to the Tartars of the Crimea!
When the other once youthful queens of tragedy and comedy were approaching the sunset glories of their reigns, Mdlle. Georges, in her mature and majestic beauty too, seized a new sceptre, mounted a new throne, and reigned supreme in a new kingdom. She became the queen of drama—not melodrama—of that prose tragedy, which is full of action, emotion, passion, and strong contrasts. Racine and Corneille were no longer the fountains at which she quaffed long draughts of inspiration. New writers hailed her as their muse and interpreter. She was the original Christine at Fontainebleau, in Dumas’s piece so named; and Victor Hugo wrote for her his terrible ‘Mary Tudor’ and his ‘Lucretia Borgia.’ It was a delicious terror, a fearful delight, a painful pleasure, to see this wonderful woman transform herself into those other women, and seem the awful reality which she was only—but earnestly, valiantly, artistically—acting. She could be everything by turns: proud and cruel as Lady Macbeth; tender and gentle as Desdemona. Mdlle. Georges, however, found a rival queen in drama, as she had done in tragedy—Madame Allan Dorval, who made weeping a luxury worth the paying for. Competitors, perhaps, rather than rivals. There was concurrency, rather than opposition. One of the prettiest incidents in stage annals occurred on the occasion of these artists being twice ‘called,’ after a representation of ‘Mary Tudor,’ in which Mdlle. Georges was the Queen and Madame Dorval Lady Jane Grey. After the two actresses had gracefully acknowledged the ovation of which they were the objects, Madame Dorval, with exquisite refinement and noble feeling, kissed the hand of Mdlle. Georges, as if she recognised in her the still supremely reigning queen. It was a pleasure to see this; it is a pleasure to remember it; and it is equally a pleasure to make record of it here.
When all this brilliant talent began to be on the wane, and play-goers began to fear that all the thrones would be vacant, a curious scene used to occur nightly in summer time in the Champs Élysées. Before the seated public, beneath the trees, an oldish woman used to appear, with a slip of carpet on her arm, a fiddle beneath it, and a tin cup hanging on her finger. She was closely followed by a slim, pale, dark, but fiery-eyed girl, whose thoughts seemed to be with some world far away. When the woman had spread the carpet, had placed the cup at one corner, and had scraped a few hideous notes on the fiddle, the pale dark-eyed girl advanced on the carpet and recited passages from Racine and Corneille. With her beautiful head raised, with slight, rare, but most graceful action, with voice and emphasis in exact accord with her words, that pale-faced, inspired girl, enraptured her out-of-door audience. After a time she was seen no more, and it was concluded that her own inward fire had utterly consumed her, and she was forgotten. By-and-by there descended on the deserted temple of tragedy a new queen—nay, a goddess, bearing the name of Rachel. As the subdued and charmed public gazed and listened and sent up their incense of praise and their shout of adulation, memories of the pale-faced girl who used to recite beneath the stars in the Champs Élysées came upon them. Some, however, could see no resemblance. Others denied the possibility of identity between the abject servant of the muse in the open air, and the glorious, though pale-faced, fiery-eyed queen of tragedy, occupying a throne which none could dispute with her. When half her brief, splendid, extravagant, and not blameless reign was over, Mdlle. Rachel gave a ‘house-warming’ on the occasion of opening her new and gorgeously-furnished mansion in the Rue Troncin. During the evening the hostess disappeared, and the maître d’hôtel requested the crowded company in the great saloon so to arrange themselves as to leave space enough for Mdlle. Rachel to appear at the upper end of the room, as she was about to favour the company with the recital of some passages from Racine and Corneille. Thereupon entered an old woman with strip of carpet, fiddle, and tin pot, followed by the queen of tragedy, in the shabbiest of frocks, pale, thoughtful, inspired, and with a sad smile that was not altogether out of tune with her pale meditations; and then, the carpet being spread, the fiddle scraped, and the cup deposited, Rachel trod the carpet as if it were the stage, and recited two or three passages from the masterpieces of the French masters in dramatic poetry, and moved her audience according to her will, in sympathy and delight. When the hurricane of applause had passed, and while a murmuring of enjoyment seemed as its softer echo, Rachel stooped, picked up the old tin cup, and, going round with it to collect gratuities from the company, said, ‘Anciennement, c’était pour maman; à présent, c’est pour les pauvres.’
The Rachel career was of unsurpassable splendour. Before it declined in darkness and set in premature painful death, the now old queen of tragedy, Mdlle. Georges, met the sole heiress of the great inheritance, Mdlle. Rachel, on the field of the glory of both. Rachel was then at the best of her powers, at the highest tide of her triumphs. They appeared in the same piece, Racine’s ‘Iphigénie.’ Mdlle. Georges was Clytemnestre; Rachel played Ériphile. They stood in presence, like the old and the young wrestlers, gazing on each other. They each struggled for the crown from the spectators, till, whether out of compliment, which is doubtful, or that she was really subdued by the weight, power, and majestic grandeur of Mdlle. Georges, Ériphile forgot to act, and seemed to be lost in admiration at the acting of the then very stout, but still beautiful, mother of the French stage.