“The judgment of Voltaire,” he says, “reveals to us the most original of their merits, that of being a tragi-comedy in five acts. The unity of the subject is placed in evidence by this question which is so often raised. Who is culpable of the crime of corruption—the judge whose surroundings put his justice at auction, or the litigant thus constrained to scatter gold about the judge?
“The five memoirs mark the phases of the debate. The first is a perfect exposition of the subject destined to soothe the judges. After having made a résumé of the preceding incidents, and taken his position, Beaumarchais engages the offensive and orders his intrigue by light skirmishes in the form of episodes. Then he opens a dramatic perspective upon the sudden changes of the contest.
“From the first to the second memoir during the entre-act the action has advanced. A rain of ridiculous and arrogant factums, of false testimonies and infamous calumnies has poured down upon the victim of the piece. The black intrigue is knotted, the scenes press varied and picturesque.
At first it is that of the registrar, then Madame Goëzman comes before us with insults but ends with artful pretty faces. After this comic prelude, the two principal characters engage in the background, in a dramatic contest.
“‘Give me your hand,’ cries Beaumarchais, and illuminating the scene, he ousts his crafty adversary, seizes him, drags him frightened like a thief in the night to the nearest lamp post, that is to say, the crude illumination of the foot lights, crying in his face the invective: ‘And you are a magistrate! To what have we come, great heavens!’
“Similar to the third act of a strongly intrigued play, the third memoir throws the adversaries on the scene and engages them in a furious fray. We have just seen the judge imprudent enough to descend from the tribunal to the arena, he lies there panting under the grip of his adversary, it is then that fly to his aid ‘that swarm of hornets.’ The image is piquant, the scene, does it not renew the parabase des Guêpes? ‘Six memoirs at once against me!’ cries the valiant athlete in an outburst of manly gaiety. He takes up the glove, salutes them all around with an ironic politeness, and then sends all of them, Marin, Bertrand, Arnaud, Baculard, even to Falcoz, who in vain tries to turn in a whirligig upon an absurdity, to bite the dust by the side of Goëzman. It is the moment to bring up the reserves. They arrive in serried ranks. Here comes a president and a whole host of counsellors. ‘My, what a world of people occupied to support you, Monsieur!’
“A daring offensive alone can disengage Beaumarchais. He instantly makes it, and following his favorite tactics, he wears it as an ornament, an accusation of forgery well directed against Goëzman changes the rôles; this is the grand counter movement of the piece.
“A sudden stupor has broken up the allies, their adversary
knows how to profit by their confusion, and throws out his petition of mitigation. It is the fourth act. He prepares briefly and wisely the fifth. Beaumarchais with an affected and deadly moderation, sums up the facts, fortifies himself in the conquered position and prepares the supreme assault.
“At last in the fourth memoir he gives out the fifth act of the peace.