A rough sketch of modern Paris

by J. G. Lemaistre

MY DEAR SIR,

You have, doubtless, been surprised, that I have not in any of my letters spoken of theatres, or spectacles as they are called at Paris. I purposely omitted doing so, till I had had an opportunity of seeing the greater part of those which are now in vogue, that I might place them all before you at one view.

“Le théâtre françois de la république,” formerly called, “le théâtre du roi,” situate in la rue de la Loi, ci-devant de Richelieu, deservedly takes the lead. It is here, where the tragedies of Racine, Corneille, and Voltaire, are constantly acted; and where also the best comedies on the french stage are represented. The most celebrated performers in the tragic line are, Talma, and la Fond, among the men; and madame Pettit, (otherwise called, mademoiselle Vanhove,) mademoiselle Volney, and mademoiselle Burgoing, among the women. Talma and la Fond have each their admirers, and it is a disputed matter in society to which the palm is due. The same thing may be said of the actresses. In some circles, madame Pettit is commended as a performer of very extraordinary talents, highly superiour to her competitors; in others, mademoiselle Volney is the favourite; and lately, mademoiselle Burgoing has disputed the victory with both. It is presumptuous perhaps, in a foreigner, to form a judgment on a subject on which natives are divided. I shall only say, that to my english ear, the roaring declamation, common to all the french tragedians, is dreadfully offensive. I must add, that I have more than once mistaken the violence of their action for bombast, and the perpetual motion of their features for grimace. After making this candid avowal, I do not deserve or expect any credit for the judgment I am about to pronounce. I think Talma less bad than la Fond; but such is the difference of national taste, that I am sure neither of them would be suffered on an english stage. I entertain the same opinion of madame Pettit, and mademoiselle Volney, though the latter is to my mind, infinitely superiour to the former. As to mademoiselle Burgoing, she has the great merit of being natural; and it is for this reason, I suppose, that in several of the newspapers here, she is accused of being cold and insipid. I saw her perform “Zaire” a few evenings since, and I never remember to have been more amused. She is a beautiful young girl of sixteen, with a fine expressive countenance, and an elegant graceful figure. Her voice is clear and articulate; her manner simple and unaffected; and her representation of the different passions strong and impressive, without “outstepping the modesty of nature.” Her dress was elegantly simple, and her deportment truly correct. After the play, “Zaire” was called for again and again, (this is the highest compliment which can be paid to a performer at Paris) and it was long before she could be persuaded to appear. At length the curtain drew up, and Talma led her, “still unwilling,” towards the audience. She seemed really distressed, by the thunder of applause which greeted her, and she ran off the stage, as soon as respect to the company would permit.

If mademoiselle Burgoing has the good sense to remember, that this early praise can only be secured by incessant study; and if she has the courage to disregard the ridiculous criticisms of the french journals, (in which she is daily recommended to use more action, to speak in a louder tone of voice, &c. in short, to lay aside the happy naturel, which constitutes her merit) it is highly probable, that in a few years she may become the first tragic actress of Europe.

If, generally speaking, I am not pleased with the french tragedians, I entertain a very different opinion as to their comic actors. In this line, I conceive their stage is very superiour to ours. The celebrated mademoiselle Contat, who, for so many years, has been the delight of the public, is still here. She retains all her powers of acting, and much of her beauty. Molé is as admirable as ever; and Dezencourt and Dugazon, in their different lines, cannot be rivalled. Fleury too, is incomparable; and whoever has seen him act Frederic the 2d, in “Les deux Pages,” has seen the most perfect performance, which any stage ever presented. Mesdemoiselles Mezeray, and Mars (cadette), are also excellent actresses; and St. Fal, in many parts, deserves to be considered as a very respectable actor.

In the “Philosophe marié,” in the “Vieux Celibataire,” and many other comedies, and in the farces of “Les deux Pages,” and of “le Circle,” (in which most of these eminent actors perform), I have sometimes forgotten, that I was at the play, and believed I saw before me, the characters which they represented. In the “Abbé l’Epée,” (which has been so well translated into english) “Monvel” deservedly obtains great applause, for the excellent and natural manner, in which he represents the philanthropic abbé. How interesting is this play! those who have seen, as I have done, the “institution des sourd muets,” view it with double pleasure. The whole appears like a real scene, and the abbé Sicard has so admirably followed the example of his humane predecessor, that the soul of the latter seems revived in the former; and in seeming the play, we forget that l’abbé l’Epée no longer exists.

The théâtre françois, though a very large building, is always full, when the good actors perform. You will be surprised, perhaps, when I add, that I have not found “Molière’s” plays act as well as I expected. I was present a few evenings ago at the representation of “Tartuffe,” and though all the parts were admirably cast, I was heartily tired before the curtain had dropped. I have more than once heard the audience hiss some of his farces, believing them to be modern ones; and to say the truth, they are not on the stage, what they appear in the closet. I cannot determine, whether the change of manners, which has taken place, makes us no longer relish a satire on follies, which exist no more; whether the metre in which these plays are written, fatigues the ear, or that the broad fun which they are intended to produce, is too coarse for modern taste. It may arise indeed, from that taste being vitiated, for Voltaire said, long ago,

“Vous parlez de Molière, oh son regne est passé,

Le siècle est bien plus fin, notre scène épurée,

Du vrai beau qu’on cherchoit est enfin décorée[45].”