The following list of public places, which I have transcribed for your satisfaction, was communicated to me by a person of veracity; and, as far as it goes, its correctness has been confirmed by my own observation. Although it falls short of the number existing here two years ago, it will enable you to judge of the ardour still prevalent among the Parisians, for "running at the ring of pleasure." Few of these places are shut up, except for the winter; and new ones succeed almost daily to those which are finally closed. However, for the sake of perspicuity, I shall annex the letter S to such as are intended chiefly for summer amusement.
- Théâtre des Arts, Rue de la Loi.
- ------- Français, Rue de la Loi.
- ------- Feydeau, Rue Feydeau.
- ------- Louvois, Rue de Louvois.
- ------- Favart, now Opéra Buffa.
- ------- de la Porte St. Martin.
- ------- de la Société Olympique (late Opéra Buffa.)
- ------- du Vaudeville, Rue de Chartres.
- ------- Montansier, Palais du Tribunat.
- ------- de l'Ambigu Comique, Boulevard du Temple.
- ------- de la Gaiété, Boulevard du Temple.
- ------- des Jeunes Artistes, Boulevard St. Martin.
- ------- des Jeunes Elèves, Rue de Thionville.
- ------- des Délassemens Comiques, Boulevard du Temple.
- ------- sans Prétension, Boulevard du Temple.
- ------- du Marais, Rue Culture Ste. Catherine.
- ------- de la Cité, vis-à-vis le Palais de Justice.
- ------- des Victoires, Rue du Bacq.
- ------- de Molière, Rue St. Martin.
- ------- de l'Estrapade.
- ------- de Mareux, Rue St. Antoine.
- ------- des Aveugles, Rue St. Denis.
- ------- de la Rue St. Jean de Beauvais.
- Bal masqué de l'Opéra, Rue de la Loi.
- ---------- de l'Opéra Buffa, Rue de la Victoire.
- Bal du Sallon des Étrangers, Rue Grange Batelière.
- --- de l'Hôtel de Salm, Rue de Lille, Faubourg St. Germain.
- --- de la Rue Michaudière.
- Soirées amusantes de l'Hôtel Longueville, Place du Carrousel.
- Veillées de la Cité, vis-à-vis le Palais de Justice.
- Phantasmagorie de Robertson, Cour des Capucines.
- Concert de Feydeau.
- Ranelagh au bois de Boulogne.
- Tivoli, Rue de Clichy, S.
- Frascati, Rue de la Loi, S.
- Idalie, S.
- Hameau de Chantilly, aux Champs Élysées.
- Paphos, Boulevard du Temple.
- Vauxhall d'hiver.
- -------- d'été, S.
- -------- à Mousseaux, S.
- -------- à St. Cloud, S.
- -------- au Petit Trianon, S.
- Jardin de l'hôtel Biron, Rue de Varenne, S.
- ------ Thélusson, Chaussée d'Antin, S.
- ------ Marbœuf, Grille de Chaillot, S.
- ------ de l'hôtel d'Orsay, S.
- Fêtes champêtres de Bagatelle, S.
- La Muette, à l'entrée du Bois de Boulogne, S.
- Colisée, au Parc des Sablons, S.
- Amphithéâtre d'équitation de Franconi, aux Capucines.
- Panorama, même lieu.
- Exhibition de Curtius, Boulevard du Temple.
- Expériences Physiques, au Palais du Tribunat.
- La Chaumière, aux Nouveaux Boulevards.
- Cabinet de démonstration de Physiologie et de Pathologie, au Palais du Tribunat, No. 38, au premier.
Although, previously to the revolution, the taste for dramatic amusements had imperceptibly spread, Paris could then boast of no more than three principal theatres, exclusively of l'Opéra Buffa introduced in 1788. These were l'Opéra les Français, and les Italiens, which, with six inferior ones, called petits spectacles, brought the whole of the theatres to ten in number. The subaltern houses were incessantly checked in their career by the privileges granted to the Comédie Française, which company alone enjoyed the right to play first-rate productions: it also possessed that of censorship, and sometimes exercised it in the most despotic manner. Authors, ever in dispute with the comedians, who dictated the law to them, solicited, but in vain, the opening of a second French theatre. The revolution took place, and the unlimited number of theatres was presently decreed. A great many new ones were opened; but the attraction of novelty dispersing the amateurs, the number of spectators did not always equal the expectation of the managers; and the profits, divided among so many competitors, ceased to be sufficiently productive for the support of every establishment of this description. The consequence was, that several of them were soon reduced to a state of bankruptcy.
Three theatres of the first and second rank have been destroyed by fire within these two years, yet upwards of twenty are at present open, almost every night, exclusively of several associations of self-denominated artistes-amateurs.
Amidst this false glare of dramatic wealth, theatres of the first rank have imperceptibly declined, and at last fallen. It comes not within my province or intention to seek the causes of this in the defects of their management; but the fact is notorious. The Théâtres Favart and Feydeau, at each of which French comic operas were chiefly represented, have at length been obliged to unite the strength of their talents, and the disgrace which they have experienced, has not affected any of those inferior playhouses where subaltern performers establish their success on an assemblage of scenes more coarse, and language more unpolished.
At the present moment, the government appear to have taken this decline of the principal theatres into serious consideration. It is, I understand, alike to be apprehended, that they may concern themselves too little or too much in their welfare. Hitherto the persons charged with the difficult task of upholding the falling theatres of the first rank, have had the good sense to confine their measures to conciliation; but, of late, it has been rumoured that the stage is to be subjected to its former restrictions. The benefit resulting to the art itself and to the public, from a rivalship of theatres, is once more called in question: and some people even go so far as to assert that, with the exception of a few abuses, the direction of the Gentils-hommes de la chambre was extremely good: thence it should seem that the only difficulty is to find these lords of the bed-chamber, if there be any still in being, in order to restore to them their dramatic sceptre.[[1]]
Doubtless, the liberty introduced by the revolution has been, in many respects, abused, and in too many, perhaps, relative to places of public amusement. But must it, on that account, be entirely lost to the stage, and falling into a contrary excess, must recourse be had to arbitrary measures, which might also be abused by those to whose execution they were intrusted? The unlimited number of theatres may be a proper subject for the interference of the government: but as to the liberty of the theatres, included in the number that may be fixed on to represent pieces of every description, such only excepted as may be hurtful to morals, seems to be a salutary and incontestable principle. This it is that, by disengaging the French comic opera from the narrow sphere to which it was confined, has, in a great measure, effected a musical revolution, at which all persons of taste must rejoice, by introducing on that stage the harmonic riches of Italy. This too it is that has produced, on theatres of the second and third rank, pieces which are neither deficient in regularity, connexion, representation, nor decoration. The effect of such a principle was long wanted here before the revolution, when the independent spirit of dramatic authors was fettered by the procrastinations of a set of privileged comedians, who discouraged them by ungracious refusals, or disgusted them by unjust preferences. Hence, the old adage in France that, when an author had composed a good piece, he had performed but half his task; this was true, as the more difficult half, namely, the getting it read and represented, still remained to be accomplished.
As for the multiplicity of playhouses, it certainly belongs to the government to limit their number, not by privileges which might be granted through favour, or obtained, perhaps, for money. The taste of the public for theatrical diversions being known, the population should first be considered, as it is that which furnishes both money and spectators. It would be easy to ascertain the proportion between the population of the capital and the number of theatres which it ought to comprise. Public places should be free as to the species of amusement, but limited in their number, so as not to exceed the proportion which the population can bear. The houses would then be constantly well attended, and the proprietors, actors, authors, and all those concerned in their success, secure against the consequences of failure, and the true interest of the art be likewise promoted. In a word, neither absolute independence, nor exclusive privilege should prevail; but a middle course be adopted, in order to fix the fate of those great scenic establishments, which, by forming so essential a part of public diversion, have a proportionate influence on the morals of the nation.
I have been led, by degrees, into these observations, not only from a review of the decline of some of the principal playhouses here, but also from a conviction that their general principle is applicable to every other capital in Europe. What, for example, can be more absurd than, in the dog-days, when room and air are particularly requisite, that the lovers of dramatic amusement in the British metropolis are to be crammed into a little theatre in the Haymarket, and stewed year after year, as in a sweating-room at a bagnio, because half a century ago an exclusive privilege was inconsiderately granted?
The playhouses here, in general, have been well attended this winter, particularly the principal ones; but, in Paris, every rank has not exactly its theatre as at a ball. From the spectacles on the Boulevards to those of the first and second rank, there is a mixture of company. Formerly, the lower classes confined themselves solely to the former; at present, they visit the latter. An increase of wages has enabled the workman to gratify his inclination for the indulgence of a species of luxury; and, by a sort of instinct, he now and then takes a peep at those scenes of which he before entertained, from hearsay, but an imperfect idea.