CHAPTER IV
In 1784, the marriage of Figaro, (Mariage de Figaro) by Beaumarchais, came out at Paris, where it was acted with astonishing success. Mr Holcroft no sooner received notice of this piece, than he formed the instant resolution of going over to France to procure a copy of it, in order to translate and adapt it to the English stage.
He arrived in Paris the latter end of September, 1784, and proceeded to the lodgings of his friend Bonneville, to whom he immediately communicated the object of his journey. They both set about the accomplishment of it directly, but they found it attended with greater difficulty than they had expected. The comedy had not been printed: therefore their first plan was to procure a manuscript copy, either at the theatre, or through some friend of the author. This attempt however they found fruitless, from the jealousy with which the managers of the French theatre prevented any copies from getting abroad. The only resource now remaining was to commit it to memory. And for this purpose, both Holcroft and his friend went to the theatre every night for a week or ten days successively, till they brought away the whole with perfect exactness. At night when they got home, each of them set down as much as he could recollect of a scene, and they then compared notes; if any difficulty occurred, it was determined the following evening. Another scene was brought away from the next representation in like manner, and the entire play was at length transcribed. It was necessary to proceed in this deliberate and cautious manner, as if they had attempted to take notes, or had continued to do so more than once, their design would probably have been suspected, and defeated by the interference of the police.
Mr Holcroft was not, it seems, quite confident of his success, till he had his manuscript safely deposited in his portmanteau, with which he immediately set out on his return home. No time was lost, and the acquisition Mr Holcroft had made was the day after his arrival communicated to Mr Harris, through the Robinsons. A meeting was appointed, and it was agreed that Figaro should, with all possible expedition, make his appearance in an English dress. The necessary metamorphosis was completed in a few weeks, and Figaro was acted at Covent Garden Theatre, under the title of the Follies of a Day, a little before the Christmas holidays. The reception of the new piece was equal to the sanguine expectations Mr Holcroft had formed, and the pains he had taken to bring it forward. It continued to be acted without intermission for a considerable length of time, and is still one of our most popular entertainments. It is needless here to give any account, or to speak of the merits of a piece so well known to the public, and for which we are indebted more to Mr Holcroft’s industry and enterprise, than to his genius as an author. It would be unjust, however, to suppose, that it is a mere literal translation. Many alterations were necessary to adapt it exactly to the taste of an English audience, and these were executed with much skill and felicity. Of all the pieces brought out by the author, this and the Road to Ruin have been the most successful. He received six hundred pounds for it at the theatre, besides a considerable sum for the copy-right, which was bought in at the time.
Mr Holcroft himself played the part of Figaro the first night, in the absence of Mr Bonner, for whom it was designed, and who afterwards took it. Mr Holcroft had before this given up his engagement at Drury Lane, but at what precise period I cannot tell.
The music of the only song in this piece, ‘Ah! well-a-day, my poor heart,’ was by Shield. It became a great favourite; and Longman, coming to treat for the purchase of the music with Shield, who hesitated what price to ask, the other, half laughing, made him an offer of three and twenty dozen of wine for it; which terms were readily acceded to by Shield, it being more than he had at that time ever received for a song. Mr Holcroft took the first opportunity of acquainting his friend Bonneville with the success of the undertaking in which he had been of such service to him. His letter is dated Dec. 28, 1784.
‘Dear Bonneville, I am sure you will pardon my apparent neglect, when you remember how exceedingly hard I have been obliged to labour since my arrival in England. Figaro has made his appearance, and is likely to be as great a favourite in London as in Paris. I wish most sincerely you were here to be a witness of his good fortune. I enclose a letter of exchange for 480 livres, on Girard and Co. bankers, Paris. The many obligations I have to your friendship, the pleasure I take in your company, and the fears I entertain lest your very virtues should lead you into irretrievable difficulties, make me earnestly desire to see you in England. Fortune seems at present disposed to smile upon my efforts; I only wish you were with me to participate her favours. I am sure you would be happy. Why will you not come? Billy has written to you, as you will see; you know he loves you, he has reason to do so; and though a child, I hope he will not forget his obligation.[[10]] Pray do not fail to tell M. and Madame Mercier, that though I do not write, I remember them as they would wish to be remembered, that is, I remember their virtue and their friendship, and shall do while I live.’
Mr Holcroft had about this time considerable intimacy with several French literary characters; among others, with M. Berquin, the author of “The Children’s Friend,” who came over here to inspect the translation of his own work into English; and a Mr Floscel, an unfortunate but worthy man, whose works he recommended to the public in a circular proposal. Mr Floscel came over to England to procure some subscriptions to a considerable literary undertaking, but was attacked by a disorder which proved fatal to him soon after his arrival.
It may be proper to add here, that Mr Holcroft had offered the marriage of Figaro to Drury Lane theatre, before he left England; but he had clogged this proposal with other conditions, which probably prevented its acceptance. This appears from a letter either to Mr Sheridan or Mr Linley, which may be worth insertion; both as it contains the first hints of a project of dramatic authorship, which has, I believe, been since acted upon at the other house, and as it is characteristic of Mr Holcroft’s unwearied industry in his different undertakings, and of the sanguine temper with which he encouraged the most distant prospects of success. It is necessary to observe in explanation of one part of the letter, that he had while in Paris (in 1783), written a tragedy, the heroine of which he very anxiously wished to see personated by Mrs. Siddons, who was now in the height of her reputation.
‘Sir, Not having been able to see you on the subject of the tragedy (Ellen, or the Fatal Cave) and being at present obliged to make a journey to Paris, I take the liberty of submitting the following proposals to your consideration. Besides the tragedy already presented, I have a comedy begun, which will be ready in a month after my return; that is, I will engage to give it in complete, some time in November.