François chérissons
Cet auguste rejetton,’ etc.
The song of ‘Malbrouk’ came once again into fashion in 1782. It was sung by the nurse to the infant dauphin, and hence became one of the favourite tunes of Marie-Antoinette. Beaumarchais introduced it into Le Mariage de Figaro in 1784, the piece having been privately performed before the king at Versailles, the queen taking the part of Suzanne. ‘Malbrouk,’ say the authors of the Mémoires Secrets de Bachaumont, ‘has become the hero of every fashion—to-day everything is “à la Malbrouk”—ribbons, head-dresses, waistcoats, above all, hats “à la Malbrouk,” and one sees all the ladies, either walking in the streets, on the promenade, or at the play, “rigged out” in this grotesque couvre-chef.’
Most things mundane, however, come to an end sooner or later—even the star of Malbrouk, in its turn, is eclipsed:
‘Malbrouck n’a plus d’empire,
Les beaux jours sont passés,
Ce guerrier a fait rire
Les gens les plus sensés,
Mais changeant de méthode
Au gré de nos sçavans,