Later Queens of the French Stage

by H. Noel Williams

In conformity with the usual practice, the papers had been sent by Fouquier-Tinville to the Bureau des Pièces Accusatives at the dismantled Tuileries. Now, in this department there was a clerk named Charles de Labussière, who had accepted the post as a means of securing his own safety, and who at heart was a devoted Royalist. Through Labussière’s hands passed all the documents relating to prisoners awaiting trial and, whenever he could do so with but little fear of discovery, he did not hesitate to destroy them. At first, he observed great caution and confined himself to abstracting a few pages from the portfolios; but, so soon as he became aware of the reckless disorder which characterised the proceedings of the fatal committee, he enlarged the scope of his operations and is said to have saved some hundreds from the guillotine, among whom was no less a personage than Joséphine de Beauharnais, whom Fate subsequently raised to the imperial throne of France. The method he adopted was an ingenious one. As it was then summer and exceedingly hot weather, and the lighting of a fire might have attracted attention, instead of burning the papers, it was his practice to soak them in water, until the bulky parchments had become balls of soft paste, which could be stowed away in his pockets, and to await a favourable opportunity of throwing them into the Seine.

On the night of Messidor 9, Labussière abstracted the papers relating to the imprisoned actors and carried them off. He had, however, a very narrow escape of detection. On his way to the river, his movements aroused the suspicion of a patrol, by whom he was arrested; and he would undoubtedly have been searched and the papers discovered, but for the timely arrival of an official of the Committee of Public Safety, who recognised him and ordered his release.[124]

Thus the players were saved, for before a new brief could be prepared, came “that happiest and most genial of revolutions, the Revolution of the 9th Thermidor,” which brought the Terror to a close and freedom to so many hundreds of prisoners.

Three weeks later, the members of the Comédie-Française reappeared at their theatre in the Faubourg Saint-Germain, now called the Théâtre de l’Égalité. La Métromanie and Les Fausses Confidences composed the programme, and the players, notwithstanding the reactionary views they were known to hold, had a great reception from an immense audience, though, remarked Louise Contat sarcastically, nothing like so large a one as there would have been to see them guillotined.

The players, however, did not remain many months in their old home. The Faubourg Saint-Germain, so long the centre of rank and wealth, was being abandoned in favour of more central spots, while, as a result of the existing free trade in theatrical matters, there were now several playhouses within a narrow radius of the Palais-Royal, whose advantage of situation rendered them formidable competitors. In January 1795, accordingly, the members of the Comédie-Française, not, as may be supposed, without many regrets, migrated to the Théâtre Feydeau, a house which had been erected, some years before, for a company of Italian farceurs, and was now under the control of a speculative gentleman named Sageret.

To be the paid servant of Sageret, who does not appear to have borne the best of reputations, seemed to Mlle. Raucourt a kind of degradation—the arts and humanity, she declared, cried out against the subjection under which they had been led to place themselves; and, in the following December, that lady withdrew from the company, followed by Larive, Mlle. Joly, Saint-Prix, and several others, and took possession of a theatre in the Rue de Louvois, intending apparently to make it the central point of a reunion of the entire company.

The flower of the Comédie-Française was now divided between three playhouses: the Théâtre de la République, the Théâtre Feydeau, and the Théâtre de Louvois. Of these the latter, which was inaugurated on Nivôse 5, Year v. (December 25, 1796), with Iphigénie and a little play by Laya, entitled Les Deux Sœurs, was for a time the most successful; Mlle. Raucourt securing a great personal triumph in another masculine part—that of the hero in Legouvé’s Laurence. Laurence, it may be explained, was the young gentleman who became enamoured of Ninon de Lenclos without knowing that he was her son.

The Directory, however, like the despotism which it had succeeded, kept a jealous eye on the theatres, and was in the habit of closing them, temporarily or altogether, upon the slightest provocation; and an incident which took place during the performance of Les Trois Frères rivaux ruined all the hopes of Mlle. Raucourt. One of the characters, addressing his valet-de-chambre, by name Merlin, exclaims:

“Monsieur Merlin, you are a scoundrel! Monsieur Merlin, you will end by being hanged!”

Now Merlin de Douai, the Minister of Justice, was just then in very bad odour with the public; and the audience applied the speech to him and cheered vociferously for several minutes.