The first celebrated ballerina at the French Opera was Mademoiselle La Fontaine, styled la reine de la danse—a title of which the value was somewhat diminished by the fact that there were only three other professional danseuses in Paris. Lulli, however, paid great attention to the ballet, and under his direction it soon gained importance. To Lulli, who occasionally officiated as ballet-master, is due the introduction of rapid style of dancing, which must have contrasted strongly with the stately solemn steps that were alone in favour at the Court during the early days of Louis XIV's reign. The minuet-loving Louis had notoriously an aversion for gay brilliant music. Thus he failed altogether to appreciate the talent of "little Baptiste" not Lulli, but Anet, a pupil of Corelli, who is said to have played the sonatas of his master very gracefully, and with an "agility" which at that time was considered prodigious. The Great Monarch preferred the heavy monotonous strains of his own Baptiste, the director of the Opera. It may here be not out of place to mention that Lulli's introduction of a lively mode of dancing into France (it was only in his purely operatic music that he was so lugubriously serious) took place simultaneously with the importation from England of the country-dance—and corrupted into contre-danse, which is now the French for quadrille. Moreover, when the French took our country-dance, a name which some etymologists would curiously enough derive from its meaningless corruption—we adopted their minuet which was first executed in England by the Marquis de Flamarens, at the Court of Charles II. The passion of our English noblemen for country-dances is recorded as follows in the memoirs of the Count de Grammont:—"Russel was one of the most vigorous dancers in England, I mean for country-dances (contre-danses). He had a collection of two or three hundred arranged in tables, which he danced from the book; and to prove that he was not old, he sometimes danced till he was exhausted. His dancing was a good deal like his clothes; it had been out of fashion twenty years."
Every one knows that Louis XIV. was a great actor; and even his mother, Anne of Austria, appeared on the stage at the Court of Madrid to the astonishment and indignation of the Spaniards, who said that she was lost for them, and that it was not as Infanta of Spain, but as Queen of France, that she had performed.
On the occasion of Louis XIV.'s marriage with Marie Therèse, the celebrated expression Il n'y plus de Pyrenées was illustrated by a ballet, in which a French nymph and a Spanish nymph sang a duet while half the dancers were dressed in the French and half in the Spanish costume.
Like other illustrious stars, Louis XIV. took his farewell of the stage more than once before he finally left it. His Histrionic Majesty was in the habit both of singing and dancing in the court ballets, and took great pleasure in reciting such graceful compliments to himself as the following:—
"Plus brilliant et mieux fait que tous les dieux ensemble
La terre ni le ciel n'ont rien qui me ressemble."
(Thétis et Pélée.—Benserade. 1654),
"Il n'est rien de si grand dans toute la nature
Selon l'âme et le cœur au point où je me vois;
De la terre et de moi qui prendra la mesure
Trouvera que la terre est moins grande que moi."
(L'Impatience.—Benserade. 1661).
On the 15th February, 1669, Louis XIV. sustained his favourite character of the Sun, in Flora, the eighteenth ballet in which he had played a part—and the next day solemnly announced that his dancing days were over, and that he would exhibit himself no more. The king had not only given his royal word, but for nine months had kept it, when Racine produced his Britannicus, in which the following lines are spoken by "Narcisse" in reference to Nero's performances in the amphitheatre.
Pour toute ambition pour vertu singulière
Il excelle à conduire un char dans la carrière;
A disputer des prix indignes des ses mains,
A se donner lui-même en spectacle aux Romains,
A venir prodiguer sa voix sur un théâtre
A réciter des chants qu'il veut qu'on idolâtre;
Tandis que des soldats, de moments en moments,
Vont arracher pour lui des applaudissements.
LOUIS RETURNS TO THE STAGE.