Queens of the French Stage Part 15

"Qu'on parle bien ou mal du fameux marechal, Ma prose ni mes vers n'en diront jamais rien: Il m'a fait trop de bien pour en dire du mal; Il m'a fait de mal pour en dire du bien."

The Marshal was dead, but his death could not undo the evil he had done.

Favart, who had loved his wife with all the strength of his nature, was generous enough to pardon a past in which circ.u.mstances had been so terribly against her. Instead of reproaching her, he preferred to forget, and in so doing acted wisely; for in Justine, as long as she lived, he found a devoted friend and a sure counsellor, on whose sympathy and advice he was always able to rely, and a companion whose irrepressible gaiety was proof against all the troubles and anxieties of both family and professional life. But his generosity went no further.

If friends.h.i.+p had survived Justine's last infidelity, love had not. "Fly from love as from the greatest of all evils," he wrote to his friend at Strasburg; and, incredible as it may appear, when, not long afterwards, Justine, piqued, we may presume, by her husband's indifference, formed a _liaison_ with the eccentric little Abbe de Voisenon, Favart's friend and reputed collaborator, the poet--this man whom we have seen prefer persecution, exile, and misery to dishonour--so far from endeavouring to put a stop to an affair which amounted to a serious scandal, appears to have regarded it with the utmost complacency.

The removal of their persecutor left the Favarts free to resume their respective professions, and, on May 3, 1751, Justine reappeared on the stage of the Comedie-Italienne, in a piece ent.i.tled _Les Amants inquiets_, of which her husband was the author. At the beginning of the following year, on the death of Riccoboni's wife, she was allotted a full part in the company, to which she remained a tower of strength for nearly twenty years; her talents as an actress and a singer being rivalled by those which she displayed as a dancer, "turning the heads of the public and securing even the support of the women." Her versatility seems to have been truly amazing. "_Soubrettes_, heroines, country girls, simple parts, character parts, all became her," says Favart in his _Memoires_; "in a word, she multiplied herself indefinitely, and one was astonished to see her play the same day, in four different pieces, parts of the most opposite character." Her powers of mimicry, too, particularly of the different dialects of France, have seldom been surpa.s.sed. Provincials whose accents she had borrowed could with difficulty be persuaded that she did not come from the same part of the country as themselves.

Possessed of exquisite taste in theatrical matters, Justine laboured strenuously for a reform in stage costume, and was "not afraid to sacrifice the charms of her countenance to truthfulness of representation." Before her time, actresses who played the parts of _soubrettes_ and peasant-girls wore immense _paniers_, with diamonds in their hair and long gloves reaching to the elbow. But when, in August 1753, she created the role of Bastienne in _Les Amours de Bastien et Bastienne_, a parody of Jean Jacques Rousseau's _Devin du village_, which she had composed herself in collaboration with Harny, she appeared on the stage wearing a simple woollen gown, with her hair flat on her head, a cross of gold on her neck, bare arms, and wooden shoes. The _sabots_ offended some critics in the pit, and murmurs of disapprobation were heard. The Abbe de Voisenon, however, saved the situation by a happy _mot_. "_Messieurs_," he cried, "_ces sabots-la donneront des souliers aux comediens_." The pit, appreciating the abbe's wit, broke into laughter and applause; the malcontents were silenced, and the piece had so great a vogue that the players grew tired of acting it long before the attendances showed any signs of diminis.h.i.+ng.[148]

Justine, indeed, neglected nothing to arrive at theatrical truth. In _Les Trois Sultanes_, the plot of which was derived, like several other of Favart's vaudevilles, from the _Contes moraux_ of Marmontel, she played the part of Roxelane in a dress "made at Constantinople with the materials of the country." This was the first occasion on which the costume of Turkish ladies had been seen upon the French stage, and though Favart himself declares that it was "at once decent and voluptuous," it was objected to; and when soon afterwards another play in which the action pa.s.sed in the Orient was represented before the Court, Justine's reforming zeal received an abrupt check by an order from the Gentlemen of the Chamber to confine herself to the ridiculous and fantastic costume established by custom.

_Les Trois Sultanes_, it may be mentioned, in spite of the unfavourable comments pa.s.sed upon Roxelane's attire, was extraordinarily successful; and the audience, we are a.s.sured, were transported with enthusiasm. A peasant in the pit, "_rendu fou d'admiration_," demanded of his neighbour the name of the author, and on being told that it was Favart, exclaimed: "_Morbleu_! I would that I had that man here; I would embrace him until I had kissed the skin off his cheeks!"

Justine's pa.s.sion for local colour was again in evidence when the interlude called _Les Chinois_ was represented. "She appeared, as did also the other actors, dressed exactly in the Chinese fas.h.i.+on. The dresses which she had procured had been made in China, while the designs for the scenery and properties had in like manner been made on the spot."

Among other pieces in which Justine appeared with success may be mentioned _La Servante Maitresse_, _Ninette a la Cour_, _Annette et Lubin_, of which she herself was part author, _Les Moissonneurs_, and _La Fee Urgele_, "in which," says Voisenon, "she played the part of the old woman in a manner impossible to imitate." According to the same authority, Favart was largely indebted for the success of more than one of his productions to suggestions made by his wife, notably in _Ninette a la Cour_, in which, too, she was responsible for many of the airs.

It would perhaps have been better for Justine's professional reputation had circ.u.mstances compelled her to retire from the stage some time earlier than was the case. During her later years, the critics declared that her voice had become thin and disagreeable, and that her acting had lost the _navete_ which had been its princ.i.p.al charm. She had become, too, extremely stout, and Madame Necker, then Mlle. Churchod, writing, in 1764, to Madame de Brenles, mentions that she had seen her playing Annette, "with a figure twelve feet broad and two high."[149] The public were more indulgent than the critics; but on December 14, 1769, when she appeared in a vaudeville by her husband called _La Rosiere de Salency_, she was very coldly received. The poor actress, believing herself abandoned by the public whose idol she had so long been, and suffering already from the disease of which she eventually died, played from that time less frequently, and, at the end of the year 1771, ceased to appear altogether. On Twelfth-day she was compelled to take to her bed, and sent for the notaries to make her will. She lingered for four months, enduring terrible sufferings, during which she continued to occupy herself with the management of her household, while her gaiety and insouciance never failed her for a single moment. "One day," says Grimm, "on recovering from a long swoon, she perceived, among those whom her danger had hurriedly a.s.sembled around her, one of her neighbours rather grotesquely attired, whereupon she began to smile and remarked that she believed she saw 'the clown of Death'; a characteristic _mot_ in the mouth of a dying girl of the theatre."

Almost to the last Justine seems to have cherished a vague hope that she would ultimately recover, and, for a long time, refused to p.r.o.nounce the renunciation of her profession which the cure of her parish demanded, according to custom, before administering the last Sacraments. Nor was it until, through the influence of Voisenon, she had obtained a promise from the Gentlemen of the Chamber that her salary should be preserved to her, under the form of a pension, in case of retirement, that she yielded, and exclaimed, smiling: "Oh! for the moment, I renounce it."

She then received the Sacraments and, profiting by a short respite from pain, composed her own epitaph, which she set to music. She died on April 21, 1772, at four o'clock in the morning, in her forty-sixth year, and was buried the same day in the church of Saint-Eustache.

Favart survived his talented wife just twenty years, and died in May 1792. Towards the end of his life, he became almost blind, notwithstanding which he continued to work for the theatre, besides keeping up an active correspondence with the Italian dramatist Goldoni, who came to Paris to visit him in 1791. The most successful of his later pieces was _La Belle a.r.s.ene_, music by Monsigny, produced in 1775.

Of his children by Justine, the only one to call for notice here is his second son, Charles Nicolas Joseph Favart. Born in 1749, at the age of twenty-one he was admitted a _societaire_ of the Comedie-Francaise, where he remained for fifteen years. Though but a moderate actor, he was a successful dramatist; his best works were _Le Diable boiteux, ou la Chose impossible_ (1782); _Les Trois Folies_ (1786); _Le Mariage singulier_ (1787); and _La Vieillesse d'Annette et Lubin_ (1791), the last in collaboration with his father. His son, Antoine Pierre Charles Favart (1780-1867), entered the Diplomatic Service, where he gained some little distinction. He a.s.sisted Dumolard in editing the _Memoires_ of his grandfather, collaborated in a couple of plays, and was an amateur painter of some talent.

VI

MADEMOISELLE CLAIRON

For more than seven years after the death of Adrienne Lecouvreur, her place as a tragic actress remained unfilled. During these years, several capable _tragediennes_ appeared, notably Jeanne Gaussin, a beautiful brunette with a rich and sympathetic voice, who created the part of Zare in Voltaire's tragedy of that name (August 13, 1732), and moved the delighted poet to address her in the following verses:--

"Jeanne Gaussin, recois mon tendre hommage; Recois mes vers au theatre applaudis; Protege-les: _Zare_ est ton ouvrage; Il est a toi, puisque tu l'embellis.

Ce sont tes yeux, ces yeux, si pleins de charmes, Qui du critique ont fait tomber les armes."[150]

But beautiful as Mlle. Gaussin undoubtedly was, and excellent as was her acting in Zare and other pathetic parts, she fell very far short of the standard to which her gifted predecessor had attained; nor was it until August 1737 that an actress worthy to a.s.sume the mantle of Adrienne arose.

This was Marie Francoise Dumesnil, who, like Adrienne, had begun her career at theatres in the East of France, and, like her, singularly enough, had received her invitation to Paris while playing at Strasburg.

Her style, which was marked by a high degree of truth to Nature, refinement, and technical skill, combined with a real enthusiasm for her art, excited general admiration, and her _debut_ was brilliantly successful. In the cla.s.sic repertoire her most celebrated roles were Cleopatre, Clytemnestre, and Phedre; while her most successful creation was Merope (February 20, 1743), when, according to Voltaire, she kept the audience in tears for three successive acts.[151]

After this triumph--the greatest of her career--it may well have been supposed that Mlle. Dumesnil was destined to maintain her supremacy for many years to come. Nevertheless, ere six months had pa.s.sed, she found her proud position challenged by a most formidable rival.

Claire Joseph Lerys--for that was the name of this rival, and of the greatest, or, at least, the most celebrated tragic actress of the eighteenth century, though she styled herself Claire _Josephe Hippolyte_ Lerys _de Latude-Clairon_, and is known to fame under the last of these names--was born at Conde, a little town of Hainaut, on January 25, 1723.

Her father was one Francois Joseph Desire Lerys, a sergeant in the Regiment de Mailly; her mother, a working-woman, Marie Claire Scanapiecq by name; and she was a natural child, a fact which she omits to mention in the French edition of her _Memoires_, though she is more candid in the German edition.[152]

The circ.u.mstances attending her birth, which she has herself recounted, were, it must be admitted, highly significant of her future career:--

"It was the custom of the little town in which I was born for all persons to a.s.semble during the carnival time at the houses of the wealthiest citizens, in order to pa.s.s the entire day in dancing and other amus.e.m.e.nts. Far from disapproving of these recreations, the cure partook of them and travestied himself with the rest. During one of the fete days, my mother, who was but seven months advanced in pregnancy, suddenly brought me into the world, between two and three o'clock in the afternoon. I was so feeble that every one imagined a few moments would terminate my career. My grandmother, a woman of eminent piety, was anxious that I should be carried out at once to the church, in order that I might there receive the rite of baptism. Not a living soul was to be discovered either at the church or at the cure's house. A neighbour having informed the party that all the town was at a carnival entertainment at the house of a certain wealthy citizen, thither was I carried with all expedition. Monsieur le Cure, attired as Arlequin, and his vicar, disguised as Gille, imagining, from my appearance, that there was not a moment to be lost, hurriedly arranged upon a sideboard everything necessary for the ceremony, stopped the fiddle for a moment, muttered over me the consecrated words, and sent me back to my mother a Christian--at least in name."[153]

When the little girl was twelve years old, she and her mother left Conde, and, after a short stay at Valenciennes, settled in Paris, where the latter found employment as a sempstress. The future queen of tragedy was at this time, according to her own account, a delicate, sensitive child, with a confirmed dislike to needlework, in consequence of which she spent the greater part of her days "trembling beneath the blows and threats of her mother," whom she describes, rather undutifully, as "a violent, ignorant, and superst.i.tious woman."

However, at length Fate took pity on her. Her mother, yielding to the remonstrances of the neighbours, who had been "affected by the appearance of languor to which her misfortunes had reduced her, and her beauty, voice, intelligence, and the sweetness of her temper when she was not forced to work at the needle," ceased to belabour her, and, by way of punishment, took to shutting her up in a room overlooking the street. Now, it happened that the house immediately opposite the Scanapiecqs was occupied by the mother of Mlle. Dangeville, the famous _soubrette_ of the Comedie-Francaise, and, one day, little Claire, having mounted a chair to survey the neighbourhood, beheld the idol of the pit taking a dancing-lesson in the midst of an admiring circle of relatives and friends. "She was distinguished," she tells us, "for every charm which Nature and youth could unite in the same person. My very being came into my eyes; not one of her movements escaped me. She was surrounded by her family, and when the lesson was over, every one applauded her, while her mother embraced her. The difference between her condition and my own penetrated me with the deepest grief; my tears would not permit me to see anything more. I descended from my chair, and, when the throbbing of my heart had subsided sufficiently for me to remount it, all had disappeared."[154]

From that day, little Claire had only one desire: to be placed _en penitence_ at the hour at which Mlle. Dangeville was in the habit of taking her lesson; and, the moment she was alone, she would climb to her perch and remain there, a motionless and silent, but enthusiastic spectator of the movements of her fair neighbour. Soon, at first almost unconsciously, the girl began to imitate what she had seen, and with such success that those who came to her mother's house thought that she had been provided with masters. "My manner of entering a room," she says, "of saluting the company, of seating myself, was no longer the same; and the improvement I had acquired, added to the graces of my deportment, obtained for me even the favour of my mother."

At length, unable any longer to keep her secret to herself, and seized with an intense curiosity to ascertain who this wonderful Mlle.

Dangeville might be, she decided to take into her confidence one of her mother's friends, who had always treated her a little less as a child than the majority of visitors to the house. This proved a fortunate step, for the person in question, pleased with the little girl's intelligence, not only gave her a good deal of information about Mlle.

Dangeville and the profession which she adorned, but obtained from her mother--not without considerable difficulty, for the sempstress "saw in theatrical performances only the road to eternal d.a.m.nation"--permission to take her to the Comedie-Francaise to witness a representation of the _Comte d'Ess.e.x_ and _Les Folies amoureuses_.

Mlle. Clairon, in her _Memoires_, confesses her inability to give any account of that never-to-be-forgotten evening. She only recollects that, during the whole of the performance, her absorption was such as to prevent her uttering a single word, and that, on returning home, she neither saw nor heard any one. Angrily dismissed to her room by her mother, instead of going to sleep, she spent the whole night in recalling and repeating everything that had been said by the performers at the theatre, and every one was astonished the next day to hear her repeat, with scarcely a mistake, a hundred verses of the tragedy and two-thirds of the after-piece. But this feat of memory was less surprising than the extraordinary way in which the little girl had contrived to a.s.similate the peculiarities of every actor whom she had seen. She lisped like Grandval, she stammered like Poisson, she mimicked to a nicety the coquettish airs of Mlle. Dangeville, and the cold and dignified manner of Mlle. Balicourt;[155] in short, she tells us, she was looked upon as a prodigy by every one, save her mother, who, frowning angrily, declared that she would rather see her make a gown or a petticoat than waste her time over such unprofitable nonsense. Claire, however, fortified by the praises which she had received, boldly declared her intention of becoming an actress, and, when the enraged sempstress threatened to starve her into submission, or "break her arms and legs," retorted, with the air of a tragedy queen: "Ah, well! you had better kill me at once, since otherwise I am determined to go upon the stage."

Marie Scanapiecq did not, it is hardly necessary to remark, attempt to put her threats into execution; nevertheless, for some two months, she subjected her unfortunate little daughter to a course of such rigorous discipline, in the hope of breaking her spirit, that Claire's health became seriously affected. Then the stern mother began to relent, and, on the advice of one of her customers, to whom she had confided her trouble, finally decided to let the girl have her way, and took her to see the lady in question, who had promised to use her influence to further her ambitions. The lady presented Claire to Desheys, a prominent actor of the Comedie-Italienne, who was so favourably impressed with the little aspirant's abilities that he presented her, in his turn, to his colleagues, and, after a course of instruction in dancing and music, she made her _debut_ at the "Italians" on January 8, 1736, in a small part in Marivaux's _Isle des Esclaves_, under the name of Clairon, a variation of her Christian name of Claire.

Although not yet thirteen, she appears to have acquitted herself with credit, while the progress she made in her profession was remarkable.

"My industry, my enthusiasm, my memory," says the actress, "confounded my instructors. I retained everything, I devoured everything."

Nevertheless, whether on account of her youth, her diminutive stature--she was very short, even for her age--or, more probably, because her precocious talents had excited the apprehensions of the famous Arlequin, Thoma.s.sin, who had daughters of his own to bring forward, she did not remain long at the Comedie-Italienne, and, at the end of a year, found herself obliged to seek her fortune in the provinces.

It was to Rouen that she went--Rouen, the nursery of the Paris theatres--Rouen, which had witnessed the first efforts of Marie de Champmesle, whose triumphs in tragedy this young girl was one day to eclipse. The princ.i.p.al theatre there was at this time under the joint-management of La Noue, author of _La Coquette corrigee_, and Mlle.

Gautier, both, in after years, prominent members of the Comedie-Francaise; and Mlle. Clairon was engaged to dance in the ballet, sing in comic opera, and act in a few parts suited to her age, at a salary of 100 pistoles, or about 1000 livres. As some compensation for this meagre remuneration, Marie Scanapiecq, who had accompanied her daughter, and whose views with regard to the morality of dramatic performances had undergone a most surprising alteration since she had discovered that there was money to be made, was installed superintendent of the box-office.

At Rouen, little Clairon soon became a general favourite, and improved so rapidly in her acting that, by the time she was sixteen, she was p.r.o.nounced to be the most charming _soubrette_ the Norman capital had ever possessed. The Rouen ladies were very far from sharing the prejudices of most provincial dames, who believed themselves degraded if they so much as spoke to an actress, and the girl was invited everywhere. A certain Madame de Bimorel, wife of a president of the Parliament of Normandy, and an old flame of the poet Fontenelle, was particularly kind, and remained her firm friend for more than forty years.

A gay town was Rouen in those days; a place where a young and pretty actress could count on receiving almost as much admiration as in the capital itself. At the theatre they still talked of the _cause celebre_ arising out of an affray between the Marquis de Cony and the President de Folleville, which had taken place some years before; how the marquis, encountering the president at the house of a certain _danseuse_ whose heart he had until that moment fondly imagined to be his alone, had addressed him by an opprobrious name; how the president had retorted by a blow directed at the nose of the marquis, and how the infuriated n.o.bleman had thereupon thrown his adversary into the fireplace, with such violence as to incapacitate him from administering justice for many a long day to come. Whence arose the lawsuit in question, bringing with it much glory and fame for the damsel who had been the cause of the dispute and the profession in general.

As was only to be expected, the charming impersonator of _soubrettes_ had no lack of adorers, and she is reported to have been not altogether insensible to the devotion of a M. du Rouvray, a handsome youth of good family, whom she met at Madame de Bimorel's house, and to the more business-like attentions of a certain rich merchant, named Dubuisson.

She had also a third _soupirant_, whose pa.s.sion was to occasion her much tribulation.

Following the example of many actresses' mothers at this period, Marie Scanapiecq, "whose rigid morals," says her dutiful daughter, "were now discarded for gaiety and pleasure, and who spoke of her former mode of life with derision," had converted her house at Rouen into a kind of _pension_, where gambling and even more questionable practices were freely permitted, if not actually encouraged. Among those who frequented the establishment was an actor named Gaillard de la Bataille, "a poor, rather amusing devil," who possessed that almost indispensable qualification for a _vainqueur de dames_ in the eighteenth century, the art of celebrating their charms in verse. To Mlle. Clairon he consecrated his muse, and every day chanted her praises in couplet or in quatrain, wherein he vowed that Venus and Vesta were unworthy to be compared with this adorable, this divine young actress. But alas! he was not content with this innocent homage; he dared to love her, "and all the while that he extolled her charms and her virtue, plotted to possess himself of the first and to destroy the other."

One summer morning, when her mother happened to be away from home, Mlle.

Clairon was studying her part in bed, all unconscious of evil. Suddenly the door flew open, and her lovelorn poet, who had bribed one of the servants of the house to admit him, appeared upon the threshold, and, casting himself on his knees before her, besought her, in impa.s.sioned accents, to reciprocate the flame which was devouring him. His divinity's only response to this appeal was to call loudly for a.s.sistance; servants and lodgers, alarmed by her cries, were quickly on the scene, and "with brooms and shovels drove the wretch into the street." "When my mother returned home," continues the actress, "it was resolved that we should lodge a complaint against him; he was reprimanded by the magistrate, had ballads made about him, and was for ever banished our house. But rage succeeded to his love and his desires, and he composed that atrocious libel which has been read all over Europe."

Gaillard did indeed take a cruel revenge for the ignominious treatment he had received, for his pamphlet, which was ent.i.tled _Histoire de Mademoiselle Cronel, dite Fretillon, actrice de la Comedie de Rouen, ecrite par elle-meme_, aided by the subsequent celebrity of its victim, ran through several editions, and the sobriquet "Fretillon" stuck to her for life. Mlle. Clairon was at Havre when the libel appeared, and "her anguish was beyond all power of expression." She returned to Rouen in fear and trembling, "imagining that every door would be barred against her, and not daring to look any one in the face." However, the play-loving Rouennais, who were very indulgent towards the moral failings of the ladies of the theatre, appear to have been more diverted than scandalised, and she "found the same public and the same friends."

Soon, however, trouble arose in another quarter. The troupe of La Noue and Mlle. Gautier, driven from Rouen by the compet.i.tion of an opera company, went to try its fortune in Flanders. Mlle. Clairon's mother accompanied her, and, while the troupe was performing at Lille, took advantage of the fact of her daughter being now separated from Madame de Bimorel and her other friends, to endeavour to coerce her into a marriage with one of her comrades, whom the girl cordially detested. In a curious pa.s.sage in her _Memoires_, Mlle. Clairon attributes to this persecution the loss of her innocence:--

"The orders of my mother, her violence, which she carried so far as to present a pistol to me, in order to obtain my consent, made me at last sensible of the necessity of having a protector, who, without appealing to the laws, might be able to restrain those about me and defend me against them. Actuated by despair alone, without any base, mercenary motive, without love, without desires, I offered and surrendered myself, on the sole condition of being protected from the marriage and death that threatened me at the same time. That moment, which, at first sight, conveys only an impression of licentiousness, is perhaps the most n.o.ble, the most interesting, the most striking of my life."

Unhappily, the sympathy which this pa.s.sage might otherwise arouse in the lady's readers is somewhat discounted by the perusal of the following extract from an official report which the police-inspector, La Janiere, sent to Berryer, the Lieutenant of Police, some years later, from which it appears that so violent and persistent was the persecution to which the unfortunate young actress was subjected by her mother and her unwelcome admirer, that not one, but three protectors were necessary for her safety:--

"After some years, having accepted an engagement with the director of the theatre at Lille, she (Clairon) appeared on the stage in that town, and did not remain long without making conquests. The Comte de Bergheick, colonel of the Regiment Royal-Wallon, the Chevalier de By, lieutenant-colonel of the same regiment, and M. Desplace, major of cavalry, were her three chief protectors.

"People are at first alarmed at the sight of three rival warriors contending for the heart of this girl, but let them be rea.s.sured, everything will pa.s.s off tranquilly. The Clairon was a careful girl, and, besides, adroit enough to keep in play half-a-dozen lovers. Thus everything worked smoothly, and all were satisfied."[156]