Mademoiselle FLEURY makes an intelligent Columbine, not unworthy of LAPORTE.
Madame DUCHAUME represents not ill characters of duennas, country-women, &c.
Nothing can be said of the voice of the different performers of this theatre, on which acccount, perhaps, the orchestra is rather feeble; but still it might be better composed.
During my present visit to Paris, the Vaudeville, as it is commonly called, has, I think, insensibly declined. It has, however, been said that its destiny seems insured by the character of the French, and that being the first theatre to bend to the caprices of the day, it can never be out of fashion. Certainly, if satire be a good foundation, it ought to be the most substantial dramatic establishment in Paris. It rests on public malignity, which is its main support. Hence, one might conclude that it will last as long as there is evil doing or evil saying, an absurdity to catch at, an author to parody, a tale of scandal to relate, a rogue to abuse, and, in short, as long as the chapter of accidents shall endure. At this rate, the Vaudeville must stand to all eternity.
Whatever may be its defects, it unquestionably exemplifies the character of the nation, so faithfully pourtrayed by Beaumarchais, in the following lines of the vaudeville which concludes the Mariage de Figaro:
"Si l'on opprime, il peste, il crie,
Il s'agite en cent façons,
Tout finit par des chansons." bis.
[Footnote 1]: The Théâtre Louvois is rapidly on the decline. [Return to text]
[Footnote 2]: These are pieces the hero of which is a celebrated personage, such as RABELAIS, SCARRON, VOLTAIRE, ROUSSEAU, MALESHERBES, FREDERIC, king of Prussia, &c. &c. [Return to text]
[LETTER LXIX.]
Paris, February 17, 1802.