Among the many interesting stories told in connection with the Pont-Neuf may be mentioned one in which a famous actress of the early part of this century, Mlle. Contat, plays a part. She happened to be out in her carriage, and after a fashion then prevalent among the ladies of Paris, was driving herself, when, holding the reins with more grace than skill, she nearly ran over a pedestrian who was crossing the bridge at the same time as herself. In those days, when side-walks for pedestrians were unknown, the whole of the street being given up to people with carriages, it was easy enough to get run over; and Mercier, in his "Tableau de Paris," speaks again and again of the accidents that occurred through the haughty negligence and recklessness of carriage folk, and even of hirers of hackney coaches. A sufferer in these rather one-sided collisions was generally held to be in the wrong, and Mlle.

Contat reproached her victim with having deliberately attempted to throw himself under her horses' feet. The pedestrian took the blame gallantly upon himself, bowed to the ground, offered the lady an apology, paid her a graceful compliment, and disappeared. Scarcely had he done so when the actress felt convinced, from his courtly manners and distinguished air, that she must have been on the point of mangling some personage of high rank, and for a long time she felt extremely curious to know who he could be. One night, about a month after the incident, when she was at the theatre, a letter from the gentleman whom she had accused of getting in the way of her horses was delivered to her. He proved to be not merely a person of high quality, as she had guessed, but a real live prince: Prince Henry, brother of the King of Prussia. He was a friend, moreover, of the drama; and he had written to beg "the modern Athalie"

to do him the honour to preside at the rehearsal of a new piece in which he was interested. Partly for the sake of the piece, but princ.i.p.ally for that of the man whom she was so near running over, Mlle. Contat complied with the prince's request. The piece was a comedy, with airs written by Baron Ernest von Manteuffel, and set to music by a composer of the day. The subject was extremely interesting, and Mlle. Contat saw that this musical comedy might prove an immense success at the Theatre Francais, where, being duly produced, it fully realised the actress's antic.i.p.ations. "Les deux Pages" it was called; and the author, Prussian as he was, had written it in the French language, with which at that time the Court and aristocracy of Prussia were more familiar than with their own tongue. It will be remembered that Frederick the Great (who, by the way, was the leading personage in "Les deux Pages") wrote the whole of his very voluminous works in French.

[Ill.u.s.tration: STATUE OF HENRI IV. ON THE PONT-NEUF.]

Mercier, in his "Tableau de Paris," published at London in 1780 (its publication would not have been permitted at Paris), gives an interesting account of the Pont-Neuf as it existed in his time. "This,"

he says, "is the greatest thoroughfare in Paris. If you are in quest of anyone, native or foreigner, there is a moral certainty of your meeting with him there in the s.p.a.ce of two hours, at the outside. The police-runners are convinced of this truth; here they lurk for their prey, and if, after a few days' look-out, they do not find it, they conclude with a certainty nearly equal to evidence that the bird is flown. The most remarkable monument of popular grat.i.tude may be seen on this bridge--the statue of Henri IV. And if the French cannot boast of having in reality a good prince, they may comfort themselves in contemplating the effigy of a monarch whose like they will never see again. At the foot of the bridge, a large phalanx of crimps--commonly called dealers in human flesh--have established their quarters, recruiting for their colonels, who sell the victims wholesale to the king. They formerly had recourse to violent means, but are now only permitted to use a little artifice, such as the employment of soldiers'

trulls for their decoy-ducks, and plying with liquors those youngsters who are fond of the juice of the grape. Sometimes, especially at Martinmas and on Shrove Tuesday, which are sacred in a peculiar manner to gluttony and drunkenness, they parade about the avenues leading to the bridge, some with long strings of partridges, hares, etc.; others jingling sacks full of half-crowns to tickle the ears of the gaping mult.i.tude; the poor dupes are ensnared, and, under the delusion that they are going to sit down to a sumptuous dinner, are in reality hastening to the slaughter-house. Such are the heroes picked out to be the support and pillars of the State; and these future great men--a world of conquerors in embryo--are purchased at the trifling price of five crowns a head."

Among the remarkable incidents which the Pont-Neuf has witnessed during its three centuries of existence must be mentioned certain amateur robberies, committed by gentlemen of the highest position. The Duke of Orleans is said to have set the fashion, which, one stormy night, after prolonged libations, was imitated by the Chevalier de Rieux, the Count de Rochefort, and a number of friends more unscrupulous than themselves.

The count and the chevalier, though the only ones of the party who got arrested, played the mild part of lookers-on, taking their seats on Henri IV.'s bronze horse, while the actual work of highway robbery was being done by their companions. In due time, however, after several of the pa.s.sers-by had been plundered of their cloaks, the watch was called, when the active robbers took to flight, whereas their pa.s.sive accomplices, unable to get down all at once from the back of the bronze horse, were made prisoners, and kept for some time in confinement.

Mazarin, indeed, was so glad to have his enemy, the Count de Rochefort, in his power, that he could scarcely be prevailed upon to let him out at all.

[Ill.u.s.tration: THE INSt.i.tUTE.]

On the left bank of the Seine, at the very foot of the Pont-Neuf, stands the Inst.i.tute of France, with its various academies, of which the most famous is that devoted to literature, the Academie Francaise, where, said Piron, "there are forty members who have as much learning as four."

"This establishment," writes Mercier somewhat bitterly, but with much truth, "was set on foot by Richelieu, whose every undertaking constantly tended to despotism. Nor has he in this inst.i.tution deviated from the rule, for the Academy is manifestly a monarchical establishment. Men of letters have been enticed to the capital like the grandees, and with the same object: namely, to keep a better watch over them. The consequence is fatal to the progress of knowledge, because every writer aspiring to a seat in that modern Areopagus knows that his success depends on Court favour, and therefore does everything to merit this by sacrificing to the G.o.ddess of Flattery, and preferring mean adulation that brings him academical honours to the useful, manly, and legitimate employment of his talents in the instruction of mankind. Hence the Academy enjoys no manner of consideration either at home or abroad. Paris is the only place where it can support any kind of dignity, though it is even there sorely badgered by the wits of the capital, who, expecting from it neither favour nor friendship, point all their epigrammatical batteries against its members. There is, in fact, but too much room for pleasantry and keen sarcasm. Is it not extremely ridiculous that forty men, two-thirds of whom owe their admission to intrigue or fawning, should be by patent created arbiters of taste in literature, and enjoy the exclusive privilege of judging for the rest of their countrymen? But their princ.i.p.al function has been to circulate and suppress new-coined words; regulating the p.r.o.nunciation, orthography, and idioms of the French language. Is this a service or injury to the language? I should think the latter.

"Instead of becoming, as they ought to do, the oracle of the age and their nation, our men of letters content themselves with being the echo of that dread tribunal; hence the abject state of literature in the capital. We have some, however, who boldly think for themselves, trust to the judgment of the public, and laugh at the award of the Academy.

Nothing can better mark the contempt in which a few spirited writers hold the decrees of the forty forestallers of French wit and refinement than the following epitaph which the author above cited, the terror of Voltaire, the scourge of witlings, Piron, ordered to be engraved on his tombstone:--

"'Cy git Piron, qui ne fut rien, Pas meme Academicien.'"

Many very distinguished writers have, in every generation since the birth of the Academy, been included among its members. Very few, however, of the forty members have at any one time been men of genuine literary distinction; a duke who has written a pamphlet, an amba.s.sador who has published a volume, having always had a better chance of election than a popular novelist or dramatist. M. a.r.s.ene Houssaye has written a book ent.i.tled "The Forty-first Chair," which is intended to show, and does show, that the greatest writer of each successive period, from Moliere to Balzac, has always been left out of the Academy: has occupied, that is to say, "the forty-first chair." M. Alphonse Daudet, to judge by his brilliant novel "L'Immortel," has no better opinion of the French Academy than had a.r.s.ene Houssaye some forty years ago, when his ingenious indirect attack upon the Academy was first published.

The Pont-Neuf was, for a considerable time after its first construction, the most important highway in Paris. It connected Paris of the left bank with Paris of the right, and old Paris, the so-called Cite, with both. It was the only bridge of importance; and what is now the greatest thoroughfare of Paris--the line of boulevards--was not yet in existence. The Pont-Neuf dates from the reign of Henri IV.; the boulevards from that of Louis XIV. Long, moreover, after it had ceased to be fashionable, the Pont-Neuf remained popular by reason of the vast stream of pa.s.sengers perpetually crossing it in either direction. It was much in favour with itinerant dealers of all kinds, and equally so with beggars. Even in our own time it was on the Pont-Neuf that _Les deux Aveugles_ of Offenbach deceived the public and exchanged confidences with one another. The plague of beggars is nothing, however, in these days, compared with what it was before the Revolution. "Who," asks a writer of the latter part of the eighteenth century, "seeing the populace of Paris ever merry, and the rich glittering in all the gaudy pomp of luxury, would believe that the streets of the metropolis are infested with swarms of beggars, were not the eye at every turn of the street shocked with some distressing spectacle, truly disgusting to the sight of every stranger who is not lost to all sense of humanity?

Nothing has yet been done to remove this evil, and the methods. .h.i.therto practised have proved to be remedies worse than the disease. Amongst the ancients there was a cla.s.s of people that might be called poor, but none reduced to absolute indigence. The very slaves were clothed, fed, had their friends; nor does any historian say that the towns and streets were full of those wretched, disgusting objects which either excite pity or freeze charity itself: wretches covered with vermin did not then go about the streets uttering groans that reach the very heart, and exhibiting wounds that frighten the eye of every pa.s.senger.

"This abuse springs from the nature of the legislation itself--more ready to preserve large fortunes than small. Let our new schemers say what they will, great proprietors are a nuisance in the State. They cover the lands with forests and stock them with fawns and deer; they lay out pleasure-gardens; and thus the oppression and luxury of the great is daily crushing the most unfortunate part of the community. In the year 1769 not only beggars, but even the poorer cla.s.s of citizens were treated with much savage barbarity by secret orders from the Government. In the very dead of night old men, women, and children were suddenly seized upon, deprived of their liberty, and thrown into loathsome gaols, without the a.s.signment of any cause for so cruel a treatment. The pretence was that indigence is the parent of crimes, that seditions generally begin among that cla.s.s of people who, having nothing to lose, have nought to fear. The ministers who then wished to establish the corn-law dreaded the effect it would have on that world of indigent wretches, driven to despair, as they would be, by the advanced price of bread which was then to be imposed. Their oppressors said: 'They must be smothered;' and they were. As this was the most effectual method of silencing them, the Government never took the trouble to devise any other. When we cast an eye abroad, it is then we are convinced of the forlorn condition in which our lower sort of people drag out their miserable life. The Spaniard can cheaply provide himself with food and raiment. Wrapped up in his cloak, the earth is his bed; he sleeps soundly, and wakes without anxiety for his next meal. The Italians work little, and are in no want of the necessaries, or even luxuries, of life. The English, well fed, strong and hale, happy and free, reap and enjoy undisturbed the fruits of their industry. The Swede is content with his gla.s.s of brandy. The Russian, whom no foresight disturbs, finds abundance in the bosom of slavery; but the Parisians, poor and helpless, sinking under the burden of unremitting toils and fatigue, ever at the mercy of the great, who crush them like vile insects whenever they attempt to raise their voice, earn, at the sweat of their brow, a scanty subsistence, which only serves to lengthen their lives, without leaving them anything to look forward to in their old age but indigence, or, what is worse, part of a bed in the hospital."

The Pont-Neuf was always crowded when anything was coming off on the neighbouring Place de Greve, where Ravaillac was tortured and torn to pieces, and where, in the next century, like horrors were perpetrated upon the body of Damiens, who had attacked Louis XV. with a pen-knife and inflicted upon him a slight scratch. The Place de Greve has now lost its old historic name, and is called the Place de l'Hotel-de-Ville.

In the open s.p.a.ce where Ravaillac and Damiens were subjected to such abominable cruelty, and where so many criminals of various kinds and cla.s.ses were afterwards to be broken and beaten to death, the guillotine was at a later date set up.

"The executioner in Paris," says Mercier (writing just before the Revolution of 1789), "enjoys a revenue of no less than 18,000 livres (720). His figure is perfectly well known to the populace; he is for them the greatest tragedian. Whenever he exhibits they crowd round his temporary stage: our very women, even those whom rank and education should inspire with the mildest sentiments, are not the last to share in the horrid spectacles he provides. I have seen some of these delicate creatures, whose fibres are so tender, so easily shaken, who faint at the sight of a spider, look unconcerned upon the execution of Damiens, being the last to avert their eyes from the most dreadful punishment that ever was devised to avenge an offended monarch. The _bourreau_, although his employment brands him with infamy, has no badge to distinguish him from the rest of the citizens; and this is a great mistake on the part of the Government, particularly noticeable when he executes the dreadful commands of the law. It is not only ridiculous: it is shocking in the extreme, to see him ascend the ladder, his head dressed and profusely powdered; with a laced coat, silk stockings, and a pair of as elegant pumps as ever set off the foot of the most refined _pet.i.t-maitre_. Should he not be clad in garments more suitable to the minister of death? What is the consequence of so gross an absurdity? A populace not overburdened with the sense of sympathy are all taken up with admiration for the handsome clothes and person of our Breakbones.

Their attention is engrossed by the elegant behaviour and appearance of this deputy of the King of Terrors; they have hardly a thought to bestow upon the malefactor, and not one on his sufferings. Of course, then, the intention of the law is frustrated. The dreadful example meant to frighten vice from its criminal course has no effect on the mind of the spectator, much more attentive to the point ruffles and the rich clothes of the man whose appearance should concur in adding to the solemnity than to the awful memento set up by a dire necessity to enforce the practice of virtue by showing that he who lives in crime must die in infamy. The executioner, from the stigma inherent to his profession, and of course to himself, cannot hope to form alliances among the other ranks of citizens. The very populace, though as well versed in the history of the hangman and the malefactors as the upper cla.s.ses are in that of the sovereigns of Europe and their ministers, would think it a disgrace to intermarry with his family to the latest generation.

It is not many years since the Bourreau of Paris publicly advertised that he was ready to bestow the hand of his daughter, with a portion of one hundred thousand crowns, on any native Frenchman who would accept it, and agree to succeed him in business. The latter clause would have staggered avarice itself; but the executioner of Paris was obliged to follow the practice of his predecessors in office, and marry his heiress to a provincial executioner. These gentlemen, in humble imitation of our bishops, take their surnames from the cities where they are settled, and among themselves it is 'Monsieur de Paris,' 'Monsieur de Rouen,' etc.

etc."

[Ill.u.s.tration: THE PONT-NEUF FROM THE ISLAND.]

Besides breaking the bones of the criminals entrusted to his charge, torturing them in various ways, and ultimately putting them to death, the executioner, under the old regime, had sometimes to perform upon books, which he solemnly burnt on the Place de Greve. Russia, Turkey, and the Roman Court are now the only Powers in Europe which maintain a censorship over books. But the custom of burning objectionable volumes, instead of simply p.r.o.nouncing against them and forbidding their circulation, belongs altogether to the past. Plenty of books were forbidden in France under the First and Second Empire; and when the infamous Marquis de Sade sent Napoleon one of his disgraceful works, the emperor replied by ordering the man to be arrested and confined in a lunatic asylum. Under the Restoration many a volume was proscribed; but since the great Revolution of 1789 no Government in France has ventured to restore the custom of having a condemned book burnt by the executioner. When, in connection with the contest on the subject of the Church's relationship with the stage, a very able pamphlet was published, proving by the laws of France that the excommunication levelled against the stage was an illegal and scandalous imposition, it got condemned to be burnt in the Place de Greve by the executioner.

Whereupon Voltaire, indignant at the barbarity of such a punishment, brought out, anonymously, another pamphlet in defence of the cremated one, when this, in its turn, was sentenced to the flames. Doubtless the writer foresaw the fate of his little volume, for the tract in question contained the suggestive remark that, "if the executioner were presented with a complimentary copy of every work he was ordered to burn, he would soon possess a handsome and very valuable library."

"Monsieur de Paris" was accustomed in his best days to burn live witches as well as newly-published books; and the cremation of these unhappy wretches gave him at times much occupation.

[Ill.u.s.tration: STATUE OF HENRY IV. (PONT-NEUF).--THE LOUVRE.

VIEW FROM THE WESTERN POINT OF THE ILE DE LA CITe.]

Without by any means introducing magic into France, Catherine de Medicis did her best to encourage magical practices; and in succeeding reigns the very people who, under her auspices, had cultivated relations with the fiend were punished for their tamperings with the supernatural.

Catherine patronised astrologers and sorcerers of all kinds; and she was accused of holding in the woods _levees_ of magicians, who arrived at the place of meeting on flying goats, winged horses, or even simple broomsticks. The a.s.sembly, according to popular rumour, began at night, and ended with c.o.c.k-crow. The place selected for the "Sabbath" was lighted by a single lamp, which cast a melancholy light, and intensified rather than dispelled the prevailing darkness. The president of the "Sabbath" was the fiend in person, who took his seat on a high throne, clad with the skin of a goat or of an immense black poodle. On his right was the solitary lamp, on his left a man or woman who had charge of the powders or ointments which it was customary to distribute among those present. The ointments were supposed to enable the members of these strange a.s.sociations to recognise one another by the smell. But there is so much that is evidently false and so little that is apparently true in the accounts transmitted to us of these witches' Sabbaths, that the only thing worth noting in connection with them is that they possessed the privilege of interesting Catherine de Medicis. The secret meetings of the Templars, the Anabaptists, and the Albigenses have all been represented as a.s.semblies of sorcerers. In the "History of Artois," by Dom de Vienne, it is said that the Inquisition established in the province caused many unfortunate Waldenses to be burnt alive in consequence of diabolical practices, "to which," as the Inquisition declared, "they themselves confessed."

It may well be that the severity of the tortures inflicted on the accused, and the promise held out to them of forgiveness in case of avowal, induced many of them to admit the truth of charges without basis. The province of La Brie would seem during the magical times of Catherine de Medicis to have been inhabited almost entirely by sorcerers--by people, that is to say, who either considered themselves such or were so considered. The shepherds and herdsmen of the province possessed, it was said, the power of putting to death the sheep and cattle of their neighbours by burying various kinds of enchantments beneath the paths along which the animals were sure to pa.s.s. Some of these wonder-working shepherds were taken and prosecuted, when they confessed in many cases that they had exercised various kinds of bedevilments on the beasts of certain farmers. They made known the composition of their infernal preparations, but refused to state where they were buried, declaring that if they were dug up the person who had deposited them would immediately die. Whether the reputed sorcerers possessed the secret of some chemical mixtures which had really an injurious effect on cattle, or whether they were merely actuated by vain fancies, it would be impossible at the present time to say. But many shepherds and herdsmen of La Brie were, towards the end of the seventeenth century, condemned and executed for magical practices. Thus two shepherds, named Biaule and Lavaux, were sentenced by the same judge to be hanged and burnt; and the sentence, after being confirmed by the Parliament of Paris, was put into effect on the 18th of December, 1691.

Magical practices have been denounced by more than one Church council; nor were incantations and witchcraft supposed by any means to be confined to the ignorant cla.s.ses. Pharamond pa.s.sed for the son of an incubus; and the mother of Clovis for a witch. Fredegonde accused Clovis, son of her husband Chilperic and a former wife, of sorcery; and it was not until the reign of Charlemagne that any endeavour was made to destroy the popular belief in magic. After Charlemagne's death witchcraft took a greater hold on the public mind than ever; and ridiculous historians wrote that Queen Berthe had given birth to a gosling and that Bertrade was a witch. Philip the Bold consulted a sorceress. The madness of Charles VI. and the influence exercised upon him by Valentine of Milan were ascribed to magic; and it was as a witch that the Maid of Orleans was burnt.

CHAPTER VII.

THE BOULEVARDS.

From the Bastille to the Madeleine--Boulevard Beaumarchais--Beaumarchais--The _Marriage of Figaro_--The Bastille--The Drama in Paris--Adrienne Lecouvreur--Vincennes--The Duc d'Enghien--Duelling--Louis XVI.

The most important, the most interesting, the most absorbing thoroughfare on the right bank of the Seine, and, therefore, in Paris generally is that of the boulevards, in which the whole of the gay capital may be said to be concentrated. Numbers of Parisians pa.s.s almost the whole of their life on the Boulevard des Italiens; or between the Boulevard Montmartre to the east, and the Boulevard de la Madeleine to the west of what, to the fashionable Parisian, is the central boulevard.

Nothing can be easier than to breakfast and dine on the boulevards; and it is along their length or in their immediate neighbourhood that not only the best restaurants, but the finest theatres are to be found.

Stroll about the boulevards for a few hours--an occupation of which the true boulevardier seems never to get tired--and you will meet everyone you know in Paris.

If, moreover, the upper boulevards, those of the Madeleine, the Capucines, and the Italiens, represent fashionable Paris, the lower boulevards, from the Boulevard Montmartre to the Boulevard Beaumarchais, represent the Paris of commerce and of industry; so that the line of boulevards, as a whole, from the Madeleine to the Bastille, gives a fair epitome of the French capital.

The poorest of the boulevards are at the eastern end of the line, and the richest at the western; and the difference in character between the inhabitants of these opposite extremes is shown by a military regulation inst.i.tuted under the Second Empire. Neither the district inhabited by the needy workmen of the east nor the western district, where dwelt the richest cla.s.s of shop-keepers, was allowed to furnish the usual contingent of National Guards. The artisans were too turbulent to be entrusted with arms, while the tradespeople were equally unreliable, because from timidity they allowed their arms to be taken from them.

Beginning at what most visitors to Paris will consider the wrong end of the line of boulevards, we find that on the Boulevard Beaumarchais Paris has a very different physiognomy from that which she presents on the Boulevard de la Madeleine, which the visitor may reach by omnibus, though it is more interesting to travel in some hired vehicle which may now and then be stopped, and more interesting still to make the whole of the three-mile journey on foot.

At either end of the line of boulevards is a _Place_, or open s.p.a.ce, which, for want of a better word, may be called a square: Place de la Bastille to the east, Place de la Madeleine to the west. The omnibuses which ply between the two extremities bear the inscription "Madeleine--Bastille"; and, beginning at the Bastille, the traveller pa.s.ses eleven different boulevards, or, rather, one boulevard bearing in succession eleven different names: Beaumarchais, des Filles du Calvaire, du Temple, Saint-Martin, Saint-Denis, Bonne-Nouvelle, Poissonniere, Montmartre, des Italiens, des Capucines, and de la Madeleine.

Advancing from the Bastille to the Madeleine, we find the appearance of the shops constantly improving, until, from poor at one end, they become magnificent at the other. What the military authorities of Germany call "necessary luxuries" (such as coffee, tea, and sugar), as well as luxuries in a more absolute sense (such as costly articles of attire, sweetmeats, and champagne), are sold all along the line. But at the Bastille end one notices here and there a little sacrifice to the useful and the indispensable. Indeed, on the lower boulevards grocers' shops are to be found, though nothing so commonplace offends the eye on the boulevards to which the name of "upper" is given.

In like manner, the importance of the theatres increases as you proceed from the Bastille westward. Nearly half the playhouses of Paris are on the boulevards: ten on the north side, and three on the south.

Many other theatres, if not entered direct from the boulevards, are in their close vicinity. The theatre nearest the Madeleine is the new Opera House; that nearest the Place de la Bastille is the Theatre Beaumarchais. The Boulevard Beaumarchais owes its name to the brilliant dramatist who, among other works, wrote the _Barber of Seville_ and the _Marriage of Figaro_, still familiar to all Europe in their musical form. From 1760 to 1831 what is now called the Boulevard Beaumarchais was known as the Boulevard St.-Antoine. In the last-named year, however, under the government of Louis Philippe, it was determined to render homage to the author of the best comedies in the French language after those of Moliere by naming a boulevard after him.

The _Marriage of Figaro_ was played in public for the first time on April 27th, 1784. "The description of the first performance is," says M. de Lomenie, "in every history of the period"; for which insufficient reason M. de Lomenie omits it in his own history of "Beaumarchais and his Times." For at least two years before the _Marriage of Figaro_ was played in public the work must have been well known in the aristocratic and literary circles of Paris. The brilliant comedy, which was not to be brought out until April, 1784, had been accepted at the Theatre Francais in October, 1781. "As soon as the actors," writes Beaumarchais, "had received, by acclamation, my poor _Marriage_, which has since had so many opponents, I begged M. Lenoir (the Lieutenant of Police) to appoint a censor; at the same time asking him, as a special favour, that the piece might be examined by no one else: which he readily promised; a.s.suring me that neither secretary nor clerk should touch the ma.n.u.script, and that the play should be read in his own cabinet. It was so read by M. Coqueley, advocate, and I begged M. Lenoir to notify what he retrenched, objected to, or approved. Six weeks afterwards I learnt in society that my piece had been read at all the soirees of Versailles, and I was in despair at this complaisance--perhaps forced--of the magistrate in regard to a work which still belonged to me; for such was certainly not the austere, discreet, and loyal course which belongs to the serious duty of a censor. Well or ill read--perhaps maliciously mutilated--the piece was p.r.o.nounced detestable; and not knowing in what respect I had sinned (for according to custom nothing was specified), I stood before the inquisition obliged to guess my crimes, but aware, nevertheless, that I was already tacitly proscribed. As, however, this proscription by the court only irritated the curiosity of the town, I was condemned to readings without number. Whenever one party was discovered, another would immediately be formed."

At the beginning of 1782 it was already a question who could obtain the privilege of hearing the play read by Beaumarchais--an admirable reciter--whether at his own house or in some brilliant _salon_. "Every day," writes Madame Campan, "persons were heard to say: 'I was present, or I shall be present, at a reading of Beaumarchais's piece.'"

The first performance of the _Marriage of Figaro_ was thus described by a competent judge. "Never," says Grimm, in one of the letters addressed by him and by Diderot to the Grand Duke of Saxe-Gotha, "never did a piece attract such crowds to the Theatre Francais. All Paris wished to see this famous 'marriage,' and the house was crammed almost the very moment the doors were opened to the public. Scarcely half of those who had besieged the doors since eight in the morning succeeded in finding places. Most persons got in by force or by throwing money to the porters. It is impossible to be more humble, more audacious, more eager in view of obtaining a favour from the Court than were all our young lords to ensure themselves a place at the first representation of _Figaro_. More than one d.u.c.h.ess considered herself too happy that day to find in the balconies, where ladies are seldom seen, a wretched stool side by side with Madame Duthe, Carline, and company."

Ladies of the highest rank dined in the actresses' rooms, in order to be sure of places. "Cordons bleus," says Bachaumont, "mixed up in the crowd, elbowing with Savoyards--the guard being dispersed, and the iron gates broken by the efforts of the a.s.sailants." La Harpe, in one of his series of letters to the Grand Duke Paul of Russia and Count Schouvaloff, declares that three porters were killed; being "one more than were killed at the production of Scudery's last piece." "On the stage, when the curtain was raised, there was seen," says De Lomenie, "perhaps the most splendid a.s.semblage of talent that was ever contained within the walls of the Theatre Francais, employed in promoting the success of a comedy which sparkled with wit, which carried the audience along by its dramatic movement and audacity, and which, if it shocked or startled some of the private boxes, excited and enchanted, inflamed and electrified the pit."

All the parts were entrusted to performers of the first merit.

Mademoiselle Sainval, who was the tragic actress then in vogue, had, at the urgent request of Beaumarchais, accepted the part of the Countess Almaviva, in which she displayed a talent the more striking from being quite unexpected. Mademoiselle Contat enchanted the public in the character of Susanna by her grace, the refinement of her acting, and the charms of her beauty and her voice. A very young and pretty actress, destined soon afterwards, at the age of eighteen, to be nipped in the bud by death--Mademoiselle Olivier, whose talent, says a contemporary, "was as nave and fresh as her face"--lent her _navete_ and her freshness to the seemingly ingenuous character of Cherubino. Mole acted the part of Count Almaviva with the elegance and dignity which distinguished him. Dazincourt represented Figaro with all his wit, and relieved the character from any appearance of vulgarity. Old Preville, who was not less successful in the part of Bridoison, gave it up after a few days to Dugazon, who interpreted it with more power and equal intelligence. Delessarts, with his rich humour, gave relief to the personage of Bartholo, which is thrown somewhat into the background.

The secondary parts of Basil and Antonio were equally well played by Vanhove and Bellemont. Finally, through a singular caprice, a somewhat celebrated tragedian, Larive, not wishing tragedy to be represented in the piece by Mademoiselle Sainval alone, asked for the insignificant little part of Grippe-soleil.

[Ill.u.s.tration: PLACE DE LA BASTILLE AND COLUMN OF JULY.]

"The success of this Aristophanic comedy," writes De Lomenie, "while it filled some persons with anxiety and alarm, naturally roused the curious crowd, who are never wanting, particularly when a successful person takes a pleasure in spreading his fame abroad--and this foible of Beaumarchais is well known. It was in the midst of a fire of epigrams in prose and verse that the author of the _Marriage of Figaro_ pursued his career, pouring out on his enemies not torrents of fire and light, but torrents of liveliness and fun."