"We, Duc de Gesvres, pair de France, First Gentleman of the King's Chamber, direct the troupe of his Majesty's French players to cause the demoiselle Clairon to forthwith make her début in order that we may be able to judge of her abilities as an actress.
"(Signed) The Duc de Gesvres.
"Executed at Versailles, September 10, 1743."[158]
In the provinces, Mlle. Clairon's emploi had been that of a soubrette, and her experience of tragedy was as yet very slight; for, though she was acquainted with some half-dozen of the leading tragic rôles, she had never played any of them more than twice. The semainiers, as a number of players who governed the Comédie in rotation were called, were, therefore, not a little surprised when the young lady informed them that it was her intention to make her first appearance as a votary of Melpomene. But their surprise gave way to profound astonishment, when, after they had consented and suggested to her the parts of Constance in Inès de Castro or Aricie in Phèdre, the débutante replied, with a smile of disdain, that such parts were too small for her, and that it was her wish to play Phèdre herself—Phèdre, the most difficult character in the whole tragic répertoire; Phèdre, one of the most celebrated rôles of Mlle. Dumesnil!
"My proposal," she tells us, "made every one smile; they assured me that the public would not suffer me to finish the first act. I became hot with indignation, but pride sustained me, and I replied as quietly and as majestically as I could: 'Messieurs, you will allow me to play it, or you will not. I have the right to make my choice. I will either play Phèdre or nothing.'"
In the end, she was permitted to have her way. According to her own account, she disdained to rehearse her part, and, on the fateful evening, September 19, 1743, did not arrive at the theatre until just before the curtain rose. The house was crowded, chiefly with persons who had come thither in the confident anticipation of enjoying a hearty laugh at what they were pleased to consider the absurd pretensions of little "Frétillon." They came to laugh and perhaps to hiss; they remained to applaud, and to applaud enthusiastically, for, long before the first act was over, it was apparent to all that a great tragédienne was before them. "It was Phèdre herself in all her sovereign splendour, in all the majesty of passion," and seldom indeed has that immortal queen of sorrow met with so worthy a representative. "The 19th of this month," says the Mercure, "the players have revived at the theatre Racine's tragedy of Phèdre, in which Mlle. Clairon, a new actress, has made her début. She represented the principal personage amidst general applause. She is a young woman of much intelligence, who expresses with a very charming voice the sentiments which she has the art to understand. One may say that Nature has lavished upon her talents of the happiest order to enable her to fill all the characters suited to her youth, the agreeableness of her person, and her voice."
A little brochure, entitled Lettre à Madame la Marquise V. de G—— sur le début de Mademoiselle Clairon à la Comédie-Française, supplies us with an interesting portrait of the actress:—
"Mademoiselle Clairon is about twenty-two or twenty-three years of age. She is exceedingly fair; her head is well set. Her eyes are fine, full of fire, and sparkle with voluptuousness. Her mouth is furnished with beautiful teeth; her bosom is well formed. One gains in examining her a pleasure which the other senses share with the sight. Her figure is shapely, she carries herself very gracefully. A modest and pleasing manner interests one in her favour. Although she is not a finished beauty, one must resemble her to be charming. Her wit is sparkling, her conversation sweet and engaging. Musician and actress, lover of the arts and their pupil, she is qualified for everything, and, without making any effort, she becomes naturally whatever she wishes to be."[159]
Mlle. Clairon continued her débuts with success. On the following evening, she gave an admirable rendering of the part of Zénobie, and this was succeeded by further triumphs as Ariane, Électre, and the Atalide of Bajazet. She played also several important rôles in comedy, among them the Dorine of Tartuffe. But her acting here was distinctly inferior to her performances in tragedy; a circumstance which is not a little singular when we remember that the reputation she had brought with her from the provinces had been gained entirely in the former genre. Possibly, recognising that her true vocation was tragedy, she was now somewhat careless of the impression she might make in other rôles.
On October 29, 1743, an order from the Duc de Gesvres conferred on the young débutante a demi-part in the troupe of the Comédie-Française. In the following December, she was accorded a further quarter share, and, exactly a year later, obtained a full part.