Queens of the French Stage

by H. Noel Williams

"You are aware, Mademoiselle, of my sentiments for you."

Favart took upon himself the task of answering the Marshal's letter. He tendered him his very humble thanks for his offer, which, however, he declined, as he had done nothing to merit such generosity, and it would be disgraceful for him to accept it. At the same time, all unsuspicious of Maurice's duplicity, he implored his protection against the Demoiselles Myesses, and went to his house to seek his advice.

Maurice advised him to make his escape while there was yet time; and old Madame Favart, having succeeded in borrowing fifty louis for her son, from Mlle. Lamotte of the Comédie-Française, the unfortunate poet fled to Strasburg the same night, where he remained for four months in hiding. He had effected his escape none too soon, for the very next day (June 10, 1749), a lettre de cachet for his arrest was issued.

A day or two after Favart's flight, Maurice left Paris on a visit to Dresden, whence he wrote to the poet's mother, offering to find her son "honourable employment," and "a secure asylum, so long as he might require one," and assuring her of his desire to render him every service that lay in his power. Favart, however, seems to have grown a little suspicious of the Marshal's protestations of friendship, for, when the offer was communicated to him he declined it, and elected to continue in hiding at Strasburg.

The misfortunes which had befallen Favart had left his family without resources, and, but for the generosity of Mlle. Lamotte of the Comédie-Française, they would have found themselves in sore straits. Justine, however, took advantage of the Marshal's absence from Paris to enter into negotiations with the Comédie-Italienne, and, on August 6, 1749, made her début there, as Marianne in the Épreuve of Marivaux. Her success was astonishing. "The pit loudly demanded that she should be received into the company," writes Collé, who was among the audience; "and, whereas it was the rule not to admit French into the Italian troupes, or Italians into the French, it was altogether different in her case; there was a cabal in her favour, and the public had only to make a noise for the regulation to be set aside." Collé expresses his opinion that the habitués of the pit, particularly of the Comédie-Italienne, were becoming "childish and imbecile," and "ought to be placed under restraint."[137]

Poor Justine's delight at her success ("I have made all Paris rush to the theatre," she wrote to Favart) was not of long duration. The Marshal returned from Dresden "more in love with her than ever, notwithstanding all the reasons he had to complain of her." According to Meusnier, it had been largely due to his influence with the Gentlemen of the Chamber that the difficulty in regard to her admission to the Comédie-Italienne had been so speedily overcome; but, when he asked for his reward, the lady would have nothing to say to him. "Far from showing the least sensibility of the Marshal's kindness, she coldly informed him that she was firmly resolved to live as an honest woman, and to labour for her salvation. This last example of ingratitude and bad faith confounded the Marshal."[138]

On September 1 Justine wrote to the fugitive at Strasburg:—

"The Marshal is still furious against me; but I am quite indifferent to that. He has just written a letter to Bercaville (his secretary), wherein he charges him to tell our mother (Madame Favart) that, if you come to Paris, and if she has any affection for you, of which he has no doubt, she must send you away instantly; and that this counsel was a last mark of his kindness for her.

"That, as for Mlle. Chantilly, she is deserving of no consideration at his hands, a fact which ought not to occasion you any vexation.

"Your friends are under the impression that you are travelling in France for your own diversion. If you wish it, I will consign my début to all the devils and set out at once to join you. Let me know your wishes, and I will follow them implicitly.... The house is always crowded on the nights on which I appear. I have been playing the part of the dancer in Je ne sais quoi, and of Fanchon in La Triomphe de l'intérêt. The ballet of La Marmotte is still being played with success. Your couplets are always received with applause. The duet which I sing with Richard is also your work; the mere fact that it is yours ensures my singing it well. I am threatened with much evil, but I laugh at it; I will come with all my heart to beg with you.