Paris as It Was and as It Is / A Sketch Of The French Capital, Illustrative Of The Effects Of The Revolution

by Francis William Blagdon

[Footnote 9]: All the princes and princesses of the House of Austria have the under-lip very prominent. [Return to text]

[Footnote 10]: The example of Mesdemoiselles BOURGOIN and VOLNAIS having proved that first-rate talents were not necessary for being received at the Théâtre Français, as a tragic queen or princess, the number of candidates rapidly increased. For several months past, the merit of these débutantes has been the general concern of all Paris. Each had her instructor, and, of course, was carefully tutored for the occasion.

M. LEGOUVÉ, the tragic writer, first brought forward on this stage Mademoiselle DUCHESNOIS, a girl about twenty, extremely ill-favoured by nature. DUGAZON, the actor, next introduced Madame XAVIER, a very handsome and elegant woman. Lastly, Mademoiselle RAUCOURT presented her pupil, Mademoiselle GEORGES WEIMER, a young girl of perfect beauty. Mademoiselle DUCHESNOIS played Phèdre, in RACINE'S tragedy of that name, seven successive times. She certainly displayed a semblance of sensibility, and, notwithstanding the disadvantages of her person, produced such an effect on the senses of the debauched Parisian youth by the libidinous manner she adopted in the scene where Phèdre declares her unconquerable passion for her son-in-law Hippolyte, that her success was complete. What greater proof can be adduced of the vitiated taste of the male part of the audience? She also performed Sémiramis, Didon, and Hermione; but in the first two characters she betrayed her deficiency. The next who entered the lists was Madame XAVIER. On her début in Sémiramis, she was favourably received by the public; but, afterwards, choosing to act Hermione, the partisans of Mademoiselle DUCHESNOIS assembled in such numbers as to constitute a decided majority in the theatre. Not content with interrupting Madame XAVIER, and hissing her off the stage, they waited for her at the door of the play-house, and loaded her with the grossest abuse and imprecations. Lastly appeared Mademoiselle GEORGES WEIMER. Warned by the disgraceful conduct of the Duchesnistes (as they are called) towards Madame XAVIER, the comedians, by issuing a great number of orders, contrived to anticipate them, and obtain a majority, especially in the pit. Mademoiselle GEORGES made her début in the character of Clitemnestre, and was well received. Her beauty excited enthusiasm, and effected a wonderful change in public opinion. After playing several parts in which Mademoiselle DUCHESNOIS had either failed, or was afraid to appear, she at last ventured to rival her in that of Phèdre. At the first representation of the piece, Mademoiselle GEORGES obtained only a partial success; but, at the second, she was more fortunate. The consequence, however, had well nigh proved truly tragic. The Duchesnistes and Georgistes had each taken their posts, the one on the right side of the pit; the other, on the left. When Mademoiselle GEORGES was called for after the performance, and came forward, in order to be applauded, the former party hissed her, when the latter falling on them, a general battle ensued. The guard was introduced to separate the combatants; but the Duchesnistes were routed; and, being the aggressors, several of them were conducted to prison. The First Consul assisted at this representation; yet his presence had no effect whatever in restraining the violence of these dramatic factions.

Since then, Mesdemoiselles DUCHESNOIS and GEORGES have both been received into the company of the Théâtre Français. Madame XAVIER has returned to the provinces. [Return to text]

[LETTER LV.]

Paris, January 22, 1802.

The observation with which I concluded my last letter, might explain why the votaries of Thalia gain so little augmentation to their number; while those of Melpomene are daily increasing. I shall now proceed to investigate the merits of the former, at the Théâtre Français.

COMEDY.

Parts of noble Fathers.
VANHOVE and NAUDET.

VANHOVE. This actor is rather more sufferable in comedy than tragedy; but in both he is very monotonous, and justifies the lines applied to him by a modern satirist, M. DESPAZE: