Queens of the French Stage Part 18

Marmontel had repeatedly urged upon the _tragedienne_ the advisability of aiming at greater simplicity, pointing out that her acting was "too splendid, too impetuous," and was wanting in suppleness and truth. "You possess," said he, "every means of excelling in your art, and yet, great as you are, you might easily rise above yourself, purely by using more temperately those powers of which you are so prodigal. You cite to me your own brilliant successes and those which you have gained for me; you cite the opinion and the advice of your friends; you cite the opinion of M. de Voltaire, who himself recites his lines with emphasis, and who pretends that declamation requires the same pomp as style; while I, in return, can only urge an irresistible feeling that declamation, like style, may be dignified, majestic, tragic, and yet simple; that tones, in order to be animated and deeply affecting, require gradations, shades, unforeseen and sudden transitions, which they can never have when strained and laboured."

Mlle. Clairon laughingly replied that she saw plainly that he would never let her alone until she had adopted a tone and manner more suited to comedy than to tragedy. To which Marmontel rejoined that this she could never do, since her voice, her look, her p.r.o.nunciation, her gestures, her att.i.tudes, were all instinctively dignified and majestic, and that, if she would but consent to be natural, her tragic powers could not fail to be enhanced.

For a long while, the actress refused to be persuaded; but, finally, in 1752, after Marmontel had, for some time, ceased to urge her, she resolved to follow his counsels. Judging it best to make her first essays in the new method before a public less critical and less conservative than that of Paris, she obtained permission to visit Bordeaux, where, in addition, she would have the advantage of performing in a theatre more suited to the style she proposed to adopt than the large _salle_ of the Comedie-Francaise. On her first evening at Bordeaux, she appeared as Phedre, and played the part in the way she had always been accustomed to perform it in Paris, that is to say, with much extravagance of tone and gesture. She was, of course, loudly applauded.

The next day, she appeared as Agrippine, and played the character from beginning to end in conformity with the ideas which she had recently adopted.

"This simple, easy, and natural style of acting," she tells us, "at first surprised them. An accelerated mode of utterance at the end of each couplet, and a regular gradation of vehemence had been usually the signals for applause; they knew that it had only been usual to applaud such pa.s.sages; and, as I did not resort to the style to which they had become accustomed, I was not applauded." As the play proceeded, however, the att.i.tude of the audience underwent a change; murmurs of "_Mais cela est beau! Cela est beau!_" began to make themselves heard; and, when the curtain fell, the actress received a perfect ovation.

"After this," she continues, "I represented thirty-two of my different characters, and always in my newly-adopted style. Ariane was of the number, and the authors of the _Encyclopedie_, under the subject _Declamation_, have been kind enough to transmit to posterity the very marked and flattering homage which I received. However, being still fearful, and doubting the judgment of the public, as well as my own, I determined to perform Phedre as I had played it at first, and I saw, to my delight, that they were dissatisfied with it. I had courage enough to say that it was an experiment which I had believed it to be my duty to make, and that I would play the same character differently, if they would grant me the favour of a third performance. I obtained permission, adopted the style which was the result of my studies as completely as I could, and every one agreed that there was no comparison."

Encouraged by the success which had attended her experiments at Bordeaux, Mlle. Clairon forthwith determined to try the effect of the new method upon Paris and Versailles.

One day, when she was to play Roxane in the little theatre at Versailles, Marmontel, happening to come to her dressing-room, was surprised to find her attired like a sultana, without _panier_, her arms half-bare, and, in short, in correct Oriental costume. He complimented her upon her appearance, upon which she told him of her experience at Bordeaux, adding: "I am going to try it again in this small theatre.

Come and hear me, and if it be as successful here, adieu to the old declamation!"

The result, Marmontel tells us, exceeded their most sanguine antic.i.p.ations. "It was no longer the actress, but Roxane herself, who was seen and heard." The aristocratic audience were delighted, and applauded her warmly. After the play, her friend went to congratulate her upon her success. "Ah!" said she, "don't you see that I am undone?

In all my characters the costume must now be observed; the truth of dress must be conjoined with that of acting. All my costly theatrical wardrobe must from this moment be changed; I lose clothes to the value of 10,000 crowns; but the sacrifice is made. You shall see me within a week perform electre as naturally as I have just played Roxane."

She was as good as her word. It was the _electre_ of Crebillon. "In place of the ridiculous _panier_ and wide mourning gown which she had been accustomed to wear," says Marmontel, "she appeared in the simple dress of a slave, with her hair dishevelled, and long chains upon her arms. She was admirable, and, some time afterwards, she was still more sublime in the _electre_ of Voltaire. Voltaire had made her recite this part with an unvaried and doleful monotony; but, when spoken naturally, it acquired a beauty unknown to himself. On hearing it acted at his theatre at Ferney, where she went to visit him, he exclaimed, bathed in tears and transported with admiration, 'It is not I who am the author of that--it is herself; she has created the part.' And, indeed, the infinity of shades which she introduced, and the manner in which she expressed the pa.s.sions, rendered it perhaps, of all others, that in which she was the most astonis.h.i.+ng."[180]

Paris, as well as Versailles, was quick to recognise in this change the genuine tragic tone, and the enormously increased appearance of probability which theatrical performances derive from a due observation of costume. Thus, from one reform sprang another, and, warmly supported by the celebrated actor Lekain,[181] who was keenly alive to the absurdity of dressing the characters of ancient Greece and Rome in a half-modern fas.h.i.+on, Mlle. Clairon was able to effect a veritable revolution. Henceforth, the actors were forced to abandon their _tonnelets_, their fringed gloves, their voluminous periwigs, their plumed hats, and all the rest of the trappings which one sees in Liotard's engraving of Watteau's picture, _Les Comediens Francais_; and this new desire for truth ere long extended to the scenery and all the accessories.

Voltaire's _Orphelin de la Chine_, produced on August 20, 1754, where, in the part of Idame, Mlle. Clairon secured one of her most brilliant triumphs,[182] was the first play in which they ventured to act on their ideas. "On returning from Fontainebleau," writes Colle, "this tragedy has been revived, and has had nine representations. I omitted to mention that the players have been put to some expense. They have had a scene painted, or, to speak more correctly, a palace, in the Chinese fas.h.i.+on; they have also observed the costumes of the country in their dress. The women wore Chinese gowns, were without _paniers_ and ruffles, and had their arms bare. Clairon even affected foreign gesticulations, placing frequently one hand or both on her hips; holding for some moments her clenched fist to her forehead, and so forth. The men, according to the characters they represented, were attired as Tartars or Chinamen.[183]

The effect was excellent."[184]

Mlle. Clairon was not content with restoring to the figures of the past their correct costume; she sought to make them live again in all the distinctiveness of their times, their countries, and their nationality.

To be a great tragic actor or actress, it was not enough, in her opinion, to have a sonorous voice, a majestic presence, a dignified carriage, enthusiasm, and dramatic intelligence; it was necessary for the player "to transport himself into the times and the places where the characters which he was representing had lived," to recover, in fact, a little of the spirit of Rome, Sparta, or Athens. "Not only," says she, in her _Memoires_, "ought one to acquaint oneself with the history of all the peoples of the world, but to investigate it thoroughly; to render oneself familiar with it, even in the minutest details; to adapt to each role the peculiarities which the nation to which the character belonged ought to exhibit."

Such a result could, of course, only be attained by constant study; and she herself was an indefatigable student of historical works and the cla.s.sics, as well as of statues, monuments, and portraits; and unsparing in her condemnation of those members of her profession who were too indolent or too careless to follow her example. Grimm relates an imaginary conversation between Mlle. Clairon and a young actor, which Mme. d'epinay declared that she had dreamed, and which, no doubt, correctly ill.u.s.trates the _tragedienne's_ views on this subject.

The young actor has come to enlist Mlle. Clairon's good offices to secure him a _debut_ at the Comedie-Francaise, and the following conversation takes place:--

"Have you yet appeared at any theatre?"

"No, Mademoiselle."

"Well! no matter; your face interests me. Be seated, Monsieur, and let us talk.... Ah! go and fetch me my work-basket from yonder console, at the end of the room, so that I may see you walk, if you please--over there, near that j.a.panese ornament.... Monsieur, I thank you. That is satisfactory; your movements are easy; you have no stiffness, nor ungainliness; but you have no distinction. Have you never had occasion to observe men of quality in society? What, Monsieur, are the characters in which you are most proficient, and which you propose that I should listen to?"

"Mademoiselle, that of Nero in _Britannicus_."

"Is that the only one? Well, Monsieur, before I listen to you, have the kindness to tell me who Nero was."

"Mademoiselle, he was an emperor who lived at Rome."

"That he lived at Rome is correct. But was he a Roman emperor, or did he reside at Rome for pleasure? How did he rise to be emperor? What were his claims, his birth, his parents, his education, his character, his inclinations, his virtues, his vices?"

"Mademoiselle, the role of Nero answers some of your questions, but not all."

"Monsieur, it is necessary to answer not only these questions, but all the further ones that I shall ask you. And how can you play the part of Nero, or any other that you wish to, unless you are as well acquainted with the life of the personage whom you are representing as with your own?"

"I was under the impression, Mademoiselle, that in order to grasp the sense of his role, it was quite sufficient to be acquainted with the play."

"And you were under a wrong impression, Monsieur."[185]

In the midst of her histrionic triumphs, Mlle. Clairon continued her career of gallantry. To Marmontel succeeded the Bailli de Fleury, "understudied" by a M. de Villeguillon, an officer of Musketeers. Soon both these gentlemen were discarded in favour of the Marquis de Ximenes, a young man of twenty-five, with a considerable fortune. The marquis, who was by way of being a poet, began his wooing by inditing sonnets to the lady's eyes, which, however, were very coldly received. Thereupon, changing his tactics, he sent her a Perigueux _pate_, in which he had caused to be inserted, in the guise of truffles, six rouleaux of fifty louis each. The rouleaux were much more to Mlle. Clairon's taste than the verses had been, and, when her generous admirer presented himself that evening, her door was no longer closed to him.

The marquis loved the lady very dearly. For her sake, he abandoned a former enchantress of the name of Mainville, "who had already plucked some of his feathers." For her sake, he parted with a fine estate in Champagne and laid the proceeds at her feet. And every day he came to visit her "in an equipage of the most brilliant description, with two tall lackeys in the rumble, and a running footman preceding it, all superbly habited."[186]

Finally, however, she killed his love with a _bon mot_. A fair colleague in the green-room, with whom she was having words, happened to remark that Monsieur le Marquis had turned Mademoiselle's head. "Yes," snapped the actress, "away from him." M. de Ximenes, be it said, was not an Adonis.

This injudicious speech was duly reported to the marquis, who, stung to the quick, quitted the lady for ever. Mlle. Clairon wrote demanding the return of a portrait of herself which she had given him. It came, and, with it, these cruel verses:--

"Tout s'use, tout perit, tu le prouves, Clairon; Ce pastel dont tu m'a fait don, Du temps a ressenti l'outrage Il t'en ressemble davantage."[187]

To M. de Ximenes succeeded a gentleman who, for some time, baffled the curiosity of Berryer's inspectors by invariably visiting the actress under cover of night, in a hackney-coach, and with his features concealed by a cloak. Ultimately, it transpired that the mysterious admirer was the Marquis de Bauffremont, who having recently married--and not for love--a lady of a very jealous disposition, had strong reasons for desiring to hide his ident.i.ty.[188]

The discreet M. de Bauffremont was followed by yet another marquis; he of Rochechouart--Mlle. Clairon appears to have been extremely partial to n.o.blemen of this particular rank--and, finally, the lady formed a _liaison_ with Joseph Alphonse Omer, Comte de Valbelle d'Oraison, "who had received from Nature all the graces that go to the making of an amiable man, and whom Chance had made the richest n.o.ble in Provence."[189]

Let us hasten to add that here, at any rate, Mlle. Clairon seems to have experienced a genuine pa.s.sion, which was undoubtedly reciprocated; for her _liaison_ with the Comte de Valbelle lasted for nineteen years, and, as we shall presently see, might have been regularised, had the actress been so disposed.

With her triumph in the Amenade of _Tancrede_, of which we have spoken elsewhere, Mlle. Clairon reached the height of her fame. She ruled with despotic sway not only the theatre, but the world of fas.h.i.+on as well. At her house, in the Rue des Marais--the same house which had been successively occupied by Marie de Champmesle, Racine, and Adrienne Lecouvreur--she received the cream of the society of both Court and capital:[190] Mesdames d'Aiguillon, de Villeroi, de la Valliere, de Forcalquier, and others; and in turn, was a frequent guest at their tables and also at that of Madame du Deffand. The Princess Galitzin, wife of the Russian Amba.s.sador at the Court of Vienna, formed so deep an attachment for the actress that she "could not spend two hours without seeing her or writing to her." It was she who commissioned Carle Van Loo to paint his celebrated portrait of Mlle. Clairon as Medea,[191] and presented it to the actress. It was she, too, who, in 1759, persuaded the Russian Court to invite the great actress to leave France and take up her residence at St. Petersburg. The terms offered were extremely tempting,[192] and Mlle. Clairon hesitated long before refusing them.

But her pa.s.sion for the Comte de Valbelle was then at its height, and she could not reconcile herself to the idea of being separated from her lover. Then the count offered to make her his wife, and accompany her to Russia, and so anxious was the Czarina Elizabeth to secure the services of the _tragedienne_, that she promised, through the Princess Galitzin, to accord him the same rank as he held in France, "and the emoluments necessary to sustain it." Mlle. Clairon, however, fell ill, and illness gave her time for reflection. She remembered that she was seven years older than her lover, who was a very gallant gentleman indeed, and very far from an example of fidelity; as her charms waned, she could hardly flatter herself that he would become more constant. She remembered, too, the difference in station; she thought of the indignation of the count's family, and she asked herself whether, in years to come, he would not reproach her with having taken him at his word.

Finally, she came to the conclusion that "the soul capable of rejecting all the advantages which are offered is a thousand times more n.o.ble than the one that accepts them," and declined to expatriate herself.[193] The Princess Galitzin was not the only distinguished foreigner to seek to perpetuate the genius of Mlle. Clairon. Garrick, who had seen her act at Lille, during his first visit to France in 1742, and prophesied a great future for her,--though this, of course, was in comedy--came to Paris, with his wife, after the conclusion of peace in 1763, on their way to Italy. A warm friends.h.i.+p sprang up between the great English actor and the Queen of the French stage, and so delighted was Garrick with the _tragedienne's_ talent that he commissioned Gravelot to engrave a design, representing Mlle. Clairon "in all the attributes of Tragedy," her arm resting on a pile of books, on which might be read the names of Corneille, Racine, Voltaire, and Crebillon.[194] By her side stood Melpomene crowning her with laurel. At the top of the frame, on a ribbon encircled by an olive branch, one read:--

"Prophetie Accomplie."

And on a tablet at the base, the following verses:--

"J'ai predit que Clairon ill.u.s.trerait la scene, Et mon esprit n'a point ete decu: Elle a couronne Melpomene, Melpomene lui rend ce qu'elle en a recu."

--GARRICK.

The following year, the Comte de Valbelle and a M. de Villepinte, another warm admirer of the actress, caused a gold medal to be struck in the lady's honour. On the face of this medal was Gravelot's allegorical design; while the reverse bore this inscription:--

L'Amitie Et Melpomene Ont Fait Frapper Cette MeDAILLE EN 1764.

The pleasure which the lady derived from this piece of adulation must have been considerably discounted by the publication of the following mordant epigram, from the pen of the dramatist Saint-Foix, of whose works she appears to have spoken slightingly:--

"Pour la fameuse Fretillon Ils ont ose frapper un medaillon; Mais a quelque prix qu'on le donne, Fut-ce douze sous, fut-ce meme pour un, Il ne sera jamais aussi commun Que le fut jadis sa personne."[195]

The pride of Mlle. Clairon, in those days, knew no bounds. "Madame de Pompadour," said she, one day, "owes her sovereignty to chance; I owe mine to the power of my genius!" She treated even the most distinguished of her colleagues with haughty disdain, and often with the grossest discourtesy; and poor Mlle. Dangeville, the object of her childish adoration and the most sweet-tempered and inoffensive of women, retired from the stage ten years earlier than she would otherwise have done, vowing that it was "impossible to live any longer with such a creature."

As for the younger actresses, they positively trembled before her; while, with the exception of Voltaire, whose admiration for her she condescended to reciprocate, there is said to have been not a single dramatic author of the time whom she had not insulted. The public she appears to have regarded very much as a queen might her subjects. On the occasion of a free performance at the Comedie, given by order of the King, she came on to the stage between the two pieces and threw handfuls of silver into the pit; and the worthy Parisians, quite gulled by this piece of theatrical quackery, cried, as they scrambled for the money, "_Vive le Roi et Mlle. Clairon!_"

Nevertheless, in spite of her arrogance and absurd pretensions, Mlle.

Clairon had the interests of her profession sincerely at heart. She was, according to her own expression, the _charge-d'affaires_, the advocate, and the postillion of the Comedie-Francaise, and it was always to her that her comrades turned when in any difficulty or perplexity. It was through her influence, joined to that of the Comte de Lauraguais, that the absurd custom of allowing the more distinguished members of the audience seats upon the stage itself--a custom which seriously hampered the movements of the players and was utterly destructive of all scenic illusion--was finally abolished. A word from her was sufficient to secure the payment of the overdue royal pension to the Comedie, which the _semainiers_ had vainly solicited from the Comptroller-General; and she laboured zealously, if unsuccessfully, to free her profession from the ban of the Church, which had weighed so long and so heavily upon it.