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 Tragedy, it is composed of the greater part of the pieces of the four principal pillars of the temple of the French Melpomene: namely CORNEILLE[[3]], RACINE, CRÉBILLON, and VOLTAIRE, to whom may be added DU BELLOY, as well as of some detached pieces, such as Iphigénie en Tauride by GUIMOND DE LA TOUCHE, Le Comte de Warwick and Philoctète by LA HARPE. The modern repertoire, or list of stock-pieces, is formed of the tragedies of M. M. DUCIS, CHÉNIER, ARNAULT, LEGOUVÉ, and LE MERCIER.
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'œuvre. 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 Mœurs 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'œuvre.
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. He did not think as he acted or spoke. When the montagnards[[4]] or mountaineers, that is, those monsters who were always thirsting for blood, divided, he appeared for some time to belong to the party of DANTON, who, however, denied him when they were both in presence of each other at the bar of the revolutionary tribunal. DANTON insisted that he who had been brought to trial for a just cause, if not a just motive, ought not to be confounded with stealers of port-folios.[[5]] They were both sentenced to die, and accordingly executed.
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. The celebrated LEKAIN[[6]] opposed its being acted, and affirmed with reason that this mixture of the two species of drama hurt them both. MOLÉ, who was fond of applause easily obtained, was the protector of the piece, and played the part of Beverley with success; but this drame is no longer performed on the Parisian stage. Next to this, comes Le Père de Famille, by DIDEROT. It is a long sermon. However, it presents characters well drawn. This species of composition is so easy that the number of drames is considerable; but scarcely any of them are now performed, except Eugénie and La Mère Coupable, by BEAUMARCHAIS,[[7]] which are frequently represented. I shall not finish this article without reminding you that MERCIER has written so many drames that he has been called Le Dramaturge. All his are become the prey of the little theatres and the aliment of the provincial departments. This circumstance alone would suffice to prove the mediocrity of the drame. MONVEL, of whom I shall soon have occasion to speak, would well deserve the same title.
[Footnote 1]: This is a place, so called in French theatres, comprising four or five rows of benches, parted off, between the place where the musicians are seated and the front of the pit. [Return to text]
[Footnote 2]: It is not mentioned whether these sons and daughters of Thespis, who have since gained a great deal of money, have offered any private remuneration to their benefactor, rather to their guardian-angel. [TRANSCRIBER'S NOTE: The scan of this footnote was imperfect. Some of the text was interpolated.] [Return to text]