“6. No associate can refuse a part appropriate to his line under pretext that such a part is unsuitable to his manner of acting or too fatiguing.
“7. The actresses alone have the right to select the pieces to be represented by the troupe.
“8. They shall also have the right to fix the day of representation, the number of rehearsals, and the days and hours when they shall occur.
“9. Each actor is bound to be present at the precise hour appointed for the rehearsal under penalty of a fine which the actresses alone shall determine among themselves.
“10. To the actresses alone a half-hour’s grace is accorded, after which the fine they will have incurred shall be decided by themselves only.
“A copy of these statutes will be given to each secretary, who shall be bound to fetch it to each rehearsal.”
Madame de Pompadour was quite right in drawing up a severe code of regulations, for it is not an easy thing to establish discipline in a troupe composed of society people, where the intrigues of the courtier are added to the vanity of the actor. What petty jealousies, what mean vanities! What manœuvres to obtain this or that part, what solicitations and cabals to ensure merely a spectator’s place in the cœnaculum!
Louis XV. occupied himself seriously with such trifles. The direction of this miniature theatre gave him no fewer cares than the government of France. He reserved to himself the right of selecting the spectators, and it was a signal favor to have been thus chosen. Notwithstanding their ardent desire to be among the privileged persons, neither Marshal de Noailles, the Duke de Gesores, nor the Prince de Conti were admitted to the opening of the theatre. It took place January 17, 1747. Tartuffe was given. Madame de Pompadour played Dorine. The first theatrical season of the little cabinets lasted until March 17.
After having secured applause as an actress in Tartuffe, Les Trois Cousines, and Le Préjugé à la Mode, the Marquise triumphed as a cantatrice in Erigone: “Madame de Pompadour sang very well,” says the Duke de Luynes; “her voice has not much volume, but a very agreeable sound; she knows music well and sings with much taste.”
The second theatrical season lasted from December 20, 1747, to March 30, 1748. The first representation comprised a comedy, Le Mariage fait et rompu, and a pastoral, Ismène, the words by Moncrif. Voltaire’s Enfant prodigue was given December 20, to the author’s great joy. Madame de Pompadour had promised Gresset to produce Le Merchant. She kept her word. The play required two months of study. It was given February 6, 1748, Madame de Pompadour playing Lisette. The Duke de Nivernais was excellent as Valère, and the Duke de Chartres took the part of Géronte. The grateful Gresset thanked the Marquise thus:—