The drame is the style in which DAMAS best succeeds. There is one in particular, Le Lovelace Français, where he personates an upholsterer of the Rue St. Antoine, who has just been cornuted by the young Duke of Richelieu. This part he performs with much truth, and avec rondeur, as the critics here express it, to signify plain-dealing. But DAMAS is no less ignoble in comedy than in tragedy.
DUPONT. This young actor, who is of a very delicate constitution, has never had what we call great powers on the stage; and a complaint in his tongue has occasioned a great difficulty in his articulation. Without having a noble air, he has something distinguishing in his manner. His delivery is correct; but the defect of which I have spoken has rendered him disagreeable to the public, who manifest it to him rather rudely, though he has sometimes snatched from them great applause.
After all the actors I have mentioned, come the confidants, a dull and stupid set, of whom one only deserves mention, not as an actor, but as an author. This is DUVAL. He has written that pretty comic opera, entitled Le Prisonnier, as well as Maison à vendre, and several drames, among which we must not forget Le Lovelace Français, ou la Jeunesse du Duc de Richelieu, the piece before-mentioned.
January 20, in continuation.
Next follow the daughters of Melpomene, or those heroines who make the most conspicuous figure in Tragedy.
Characters of Queens.
Mesdames RAUCOURT and VESTRIS.
Mademoiselle RAUCOURT. Never did début make more noise than that of this actress, who appeared for the first time on the French stage about thirty years ago, and might then be sixteen or seventeen years of age. She was a pupil of Mademoiselle CLAIRON, who had a numerous party, composed of Encyclopædists, French academicians, and almost all the literati of Paris. The zeal of her friends, the youth, tall stature, and person of the débutante supplied the place of talent; and her instructress has recorded in her memoirs that all her labour was lost. The success, however, of Mademoiselle RAUCOURT was such, that there were, it is said, several persons squeezed to death at the door of the playhouse. What increased enthusiasm in favour of the young actress was, that a reputation for virtue was granted to her as great and as justly merited as that for talent. Her father declared in the public lobby that he would blow out her brains if he suspected her of having the smallest intrigue. He kept not his word. Besides, it is well known that his daughter always took care to conduct herself in such a manner as to set the foresight even of jealousy at defiance. Her penchant not leaving her the resource to which women of her profession generally recur, and her expenses being considerable, her debts increased; and to avoid the pursuit of her creditors she took refuge in Germany with her tender friend, Mademoiselle SOUK, who has since been mistress to the late king of Prussia. They both travelled over that country, and a thousand reports are circulated to their shame; but the most disgraceful of these are said to be unfounded. The protection of the queen of France, who paid her debts repeatedly, at length restored her to the Comédie Française. Such inconsiderate conduct did no small injury to that unfortunate princess, whom I mention with concern on such an occasion.
The stature of Mademoiselle RAUCOURT is colossal, and when she presents herself, she has a very imposing look. Her face, however, is not so noble; she has small eyes, and her features have not that flexibility necessary for expressing the movements of the passions. Her voice was formerly very full in the medium of level-speaking; but it seemed like that of a man. When you heard it for the first time, you thought that, in impassioned sentences, she was going to thunder; but, on the contrary, she assumed a very extensive falsetto, which formed the most singular contrast with the dull sounds that had preceded it. That defect, perhaps, is somewhat less striking at the present day; but the voice of this actress is become hoarse, like that of persons who make a frequent use of strong liquors. The delivery of Mademoiselle RAUCOURT is, in general, just and correct; for she is allowed to have understanding; yet, as she neither has warmth nor sensibility, she produces scarcely any effect. Plaudits most frequently burst forth when she appears; but, though these are obtained, she never touches the feelings of the spectator, she never reaches his heart, even in the parts, where she has had the most vogue. That of Médée, in which she has begun to reestablish her declining reputation, was neither better felt nor better expressed. She was indebted for the success she obtained in it only to the magician's robe, to the wand, and to a stage-trick which consists in stooping and then raising herself to the utmost height at the moment when she apostrophizes the sun. In the scene of Medea with her children, a heart-rending and terrible scene, there was nothing but dryness and a total absence of every maternal feeling.
The characters of queens, which Mademoiselle RAUCOURT performs, are the first cast of parts at the theatre. It consists of those of mothers and a few parts of enraged or impassioned lovers. In the works of CORNEILLE, the principal ones are Cléopatre in Rodogune, and Cornélie in the Mort de Pompée. In RACINE'S, the parts of Athalie and of Phèdre in the tragedies of the same name, of Agrippine in Britannicus, of Clitemnestre in Iphigénie en Aulide, and of Roxane in Bajazet. In VOLTAIRE'S, those of Mérope and Sémiramis; and, lastly, that of Médée in the tragedy by LONGEPIERRE.
Like all the performers belonging to the Théâtre Français, Mademoiselle RAUCOURT was imprisoned during the reign of terror. The patriots of that day bore her much ill-will, and it is asserted that Robespierre had a strong desire to send her to the guillotine. When she reappeared on the stage, the public compensated her sufferings, and to this circumstance she owes the rather equivocal reputation she has since enjoyed.