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

In the French navy, commanders of ships and vessels are supplied with useful charts and atlases of every description, at the expense of the nation. These are delivered into their care previously to the ship leaving port. When a captain is superseded in his command, he transfers them to his successor; and when the ship is put out of commission, they are returned to the proper office. Why does not the British government follow an example so justly deserving of imitation?

[LETTER LXVIII.]

Paris, February 15, 1802.

After the beautiful theatre of the old Comédie Française, under its new title of l'Odéon, became a prey to flames, as I have before mentioned, the comedians belonging it were dispersed on all sides. At length, PICARD assembled a part of them in a house, built at the beginning of the revolution, which, from the name of the street where it is situated, is called the

THÉÂTRE LOUVOIS.

No colonnade, no exterior decoration announces it as a place of public amusement, and any one might pass it at noon-day without suspecting the circumstance, but for the prices of admission being painted in large characters over the apertures in the wall, where the public deposit their money.

This house, which is of a circular form, is divided, into four tiers of boxes. The ornaments in front of them, not being in glaring colours, give, by their pale tint, a striking brilliancy to the dress of the women.

PICARD, the manager of this theatre, is the MOLIÈRE of his company; that is, he is at once author and actor, and, in both lines, indefatigable. Undoubtedly, the most striking, and, some say, the only resemblance he bears to the mirror of French comedy, is to be compelled to bring on the stage pieces in so unfinished a state as to be little more than sketches, or, in other words, he is forced to write in order to subsist his company. Thus then, the stock-pieces of this theatre are all of them of his own composition. The greater part are imbroglios bordering on farce. The vis comica to be found in them is not easily understood by foreigners, since it chiefly consists in allusions to local circumstances and sayings of the day. However, they sometimes produce laughter in a surprising degree, but more frequently make those laugh who never blush to laugh at any thing.

The most lively of his pieces are Le Collatéral and la Petite Ville. In the course of last month, he produced one under the name of La Grande Ville, ou les Provinciaux à Paris, which occasioned a violent uproar. The characters of this pseudo-comedy are swindlers or fools; and the spectators insisted that the portraits were either too exact a copy of the originals, or not at all like them. By means of much insolence, by means of the guard which was incautiously introduced into the pit, and which put to flight the majority of the audience, and, lastly, by means of several alterations, PICARD contrived to get his piece endured. But this triumph may probably be the signal of his ruin,[[1]] as the favour of the Parisian public, once lost, is never to be regained.

This histrionic author and manager has written some pieces of a serious cast. The principal are, Médiocre et Rampant, and L'Entrée dans le Monde. As in La Grande Ville, the characters in these are also cheats or fools. Consequently, it was not difficult to conduct the plot, it would have been much more so to render it interesting. These two comedies are written in verse which might almost pass for prose.