Queens of the French Stage Part 19

In the spring of 1761, there was published, at Amsterdam, a little volume, ent.i.tled _Liberte de la France contre le pouvoir arbitraire de l'excommunication, ouvrage dont est specialement redevable aux sentiments genereux et superieurs de Mlle. Clai_.... This book, which was the work of one Huerne de la Mothe, an advocate of the Parliament of Paris, had been inspired by Mlle. Clairon, and was preceded by a letter from the actress to the author, in which she announced to the public that she hesitated to exercise her profession any longer, owing to her fear of the excommunication to which it subjected her. The bigots, ecclesiastical and lay, who were very roughly handled in the book, were exasperated to the last degree; the Grand'Chambre issued a decree ordering the obnoxious work to be burned by the public executioner in the Place de Greve, and poor Huerne de la Mothe was struck off the roll of advocates. Mlle. Clairon, however, who felt herself to be the cause of his misfortune, did not allow him to suffer by his champions.h.i.+p of her profession, and persuaded the Duc de Choiseul to nominate him to a lucrative post in the Ministry of Foreign Affairs.

Mlle. Clairon had many enemies: enemies in her own profession, enemies in the fas.h.i.+onable world, and enemies in the Republic of Letters. Two of the most formidable among the last-named were La Harpe and Freron, the critic, the sworn foe of the philosophers. La Harpe hated her, it is said, because she had contemptuously refused to act in his plays; Freron, because of her friends.h.i.+p with the elders of the Holy Philosophical Church, and, more especially, with its Patriarch, Voltaire, under whose blistering ridicule he had long writhed. La Harpe contented himself by making epigrams about her in society; but Freron went further, and dared to attack her in print.

There had recently appeared at the Comedie a young, charming, accomplished, and, _mirabile dictu_, virtuous actress, named Mlle.

d'Oligny, best remembered in theatrical history as the original representative of Rosine in Beaumarchais's _Barbier de Seville._[196]

Freron, who prided himself on being one of the first to discover the talent of this lady, could not resist the temptation of contrasting her blameless life with that of Mlle. Clairon, and proceeded to do so in a remarkably effective manner.

In his _Annee litteraire_, under date January 17, 1765, appeared an _eloge_ in verse of Mlle. d'Oligny, "who had never consented to listen to any proposition of fortune, at the expense of her innocence,"

followed by a paragraph written by Freron himself, which, although she was not actually mentioned by name, no one could have the least doubt referred to Mlle. Clairon:--

"One will be grateful to the author for having laid stress, in his just _eloge_ of Mlle. d'Oligny, on her irreproachable conduct up to the present. May we always bear in mind that the Muses are chaste, and that they ought never to sing of libertinism and prost.i.tution! Talents of the rarest order, or regarded as such, do not efface the opprobrium of a dissolute life. One may accord a certain measure of esteem to the performance of the actress, but the seal of contempt is always stamped upon her person. It is in vain that, after having acquired a disgraceful celebrity through vice, she affects a grave and reserved manner. This tardy and false decorum only serves to form a revolting contrast with a youth of infamy, and I do not know whether one does not prefer that a creature of this species should constantly show herself what she has been, rather than appear what she is not. The frankness of libertinism is, in point of fact, less shocking than the mournful simulation of dignity."[197]

Terrible was the wrath of the insulted actress. To the Gentlemen of the Chamber she flew, and announced her intention of quitting the stage forthwith, and for ever, unless condign punishment was immediately inflicted on this vile scribbler who had dared to traduce her.

To pacify her, an order was issued for the arrest of Freron and his incarceration in For l'eveque. But when the police proceeded to his house to execute it, they found the critic in the agonies of gout: agonies so acute that it was impossible, he declared, to move a step without enduring torments; and his friends contrived to obtain a suspension of his sentence until he should be in a fit state to leave his bed. As may be supposed, this was not for some days, and, in the meantime, the devout Queen, Marie Leczinska, whose father had stood sponsor to one of Freron's children, and who regarded that worthy as the champion of the Faith against the attacks of the philosophers, intervened on his behalf and obtained a further respite.

Mlle. Clairon refused to abide by the Queen's decision, reiterated her determination to retire from the stage if Freron were not punished, and demanded an audience of the Prime Minister, the Duc de Choiseul.

"Justice!" cried she, in tragic accents, the moment she was ushered into his presence. "Justice, Monsieur le Duc!"

"Mademoiselle," replied the Minister, with mock gravity, "you and I both perform on a stage, but there is this difference between us: you choose the parts which you prefer, and are sure of the applause of the public.

There are only a few persons of bad taste, such as this wretched Freron, who refuse you their suffrages. I, on the contrary, have often a very disagreeable task; I strive to do my best, and am criticised, condemned, hissed, and ridiculed; yet, I remain at my post. Let us both of us sacrifice our private resentments to the good of our country, and serve it, each in our own way, to the best of our ability. And, besides, the Queen having pardoned, you can, without compromising your dignity, imitate her Majesty's clemency."

Mlle. Clairon, far from mollified by this badinage, returned home, and called a meeting of her friends and the members of the Comedie, presided over by the Duc de Duras, at which it was determined that the Comte de Saint-Florentin, _Commandeur des Ordres_ to the King, should be threatened with the desertion of the entire troupe, unless speedy justice were done to the modern Melpomene. "This line of conduct,"

writes Bachaumont, "has greatly disturbed M. de Saint-Florentin. This Minister has written to the Queen, stating that the affair has become one of the vastest importance; that for a very long time no matter of such serious import has been discussed at Court; that, in fact, the Court is divided into two factions on the question; and that, despite his profound respect for the commands of her Majesty, he much fears that he will be compelled to obey the original orders of the King."

However, eventually, the matter was allowed to rest, and, by the irony of Fate, barely two months had pa.s.sed before Mlle. Clairon herself was sent to For l'eveque. And this was how it came about.

After the Easter recess of that year, the Comedie-Francaise was announced to open with De Belloy's phenomenally successful tragedy, _Le Siege de Calais_, then at the height of its popularity. All the boxes had been engaged for several performances, and there was every indication of a most successful season. An unexpected incident ruined everything. "An actor named Dubois, who," says Grimm, "had for the last twenty-nine years enjoyed the confidence of all the tragic heroes," had a dispute over a bill with a surgeon named Benoit, whose professional services he had had occasion to seek, under somewhat discreditable circ.u.mstances. Dubois declared that he had paid the bill; Benoit was equally positive that he had not, and commenced proceedings to recover the amount owing. The actor's colleagues, annoyed to find one of their number mixed up in such an affair, brought the matter to the notice of the Gentlemen of the Chamber, who gave them permission to decide upon it themselves. They, accordingly, held an inquiry, found that Dubois had lied--indeed, he confessed as much--and, at the instigation of Mlle.

Clairon, and with the approval of the Gentlemen of the Chamber, expelled him and another actor named Blainville, who had given evidence in his comrade's favour, from the troupe.

Now, it happened that Dubois had a very pretty daughter, "who possessed the power," says Mlle. Clairon, "of rendering the Gentlemen of the Chamber as happy as they could desire to be." Like a dutiful child, she warmly espoused the cause of the cas.h.i.+ered actor, and, rus.h.i.+ng, with dishevelled hair, into the presence of the Duc de Fronsac--son of the Marechal de Richelieu--who in days gone by had been in the habit of paying her matutinal visits, disguised as a coffee-house waiter, besought his intervention on behalf of her unhappy father, the innocent victim, she declared, of the machinations of Mlle. Clairon.

The young duke, who still retained for the lady some remains of affection, promised to do what he could, with the result that on April 15, about three hours before the play was announced to begin, an order arrived from Versailles, to the effect that Dubois was to be allowed to take his usual part, until the King should decide on his fitness to remain a royal player.

A meeting of the company was hurriedly summoned, and a deputation sent to one of the Gentlemen of the Chamber who happened to be in Paris, to endeavour to obtain a rescission of the order, for that evening at least. But the deputation returned and reported the failure of its mission; the "Gentleman" had professed himself unable to do anything without consulting his colleagues. Thereupon, five members of the troupe, Mlle. Clairon, Lekain, Brizard, Mole, and d'Auberval, declared their intention of refusing to play. Cost them what it might, they were absolutely determined never to appear upon the stage with Dubois again.

Such was the position of affairs, when, at half-past five, the Comedie opened its doors. Let us listen to Colle's account of the scene which followed:--

"The audience a.s.sembled to witness _Le Siege de Calais_; it had been impossible to change the bills announcing the performance. When half-past five came, Lekain, Mole, and Brizard had not arrived. Mlle.

Clairon had shown herself, but, perceiving and knowing that these gentlemen had no intention of appearing, did not take the trouble to dress, and went home in the sedan-chair which had brought her to the theatre. The remainder of the players, who were very reluctant to acquaint the public with this unwelcome news, were at a loss what to do.

Ultimately, towards six o'clock, one of them left his comrades, went on to the stage, and began, in trembling accents, to address the audience with: 'Messieurs, we are in despair--' He was interrupted by some one in the pit, who shouted, 'We want no despair! _Calais!_' And, in an instant, the entire public took up the cry and shouted: '_Calais!

Calais!_"

"After this first tumult had somewhat subsided, the actor wished to commence his speech, but the audience declined to hear any more. Some minutes pa.s.sed thus, and then the actor briefly explained the impossibility of performing the tragedy in question, and proposed to play _Le Joueur_ in its place, or to return the public their money; only to be received with renewed cries, more violent than before, of '_Calais! Calais!_'

"A moment later, Preville, the idol of the public, came on to the stage and endeavoured to begin the first scene of _Le Joueur_, but was interrupted, hooted, and hissed by the audience, who cried in a kind of frenzy: '_Calais!_' Several persons in the pit, who were aware that it was through the intrigues and machinations of Mlle. Clairon that the players had so signally failed the public, shouted: '_Calais, et Clairon en prison! Fretillon a l'hopital![198] Fretillon aux cabanons!_'

"No doubt the majority of those who uttered these blasphemies were partisans of the Dubois, who had been posted by her and her father in the pit. This pandemonium, which might have become a scene of bloodshed, if the Guards on duty had chosen to interfere, lasted until seven o'clock, when the audience had their money returned to them."[199]

The following morning, there was a consultation between Sartines, the Lieutenant of Police, and the Gentlemen of the Chamber, when it was decided to make an example of Mlle. Clairon and the other recalcitrant players. The actress, who happened to be unwell, was in bed, and her friend Madame de Sauvigny, wife of the Intendant of Paris, was nursing her, when an inspector of police arrived and intimated that he had an order from the King to conduct Mlle. Clairon to For l'eveque. Madame de Sauvigny protested against the arrest of her "best friend," but the _exempt_ was inexorable, and Mlle. Clairon informed him that she would submit to the orders of the King. "All that I have," cried she, in her best stage manner, "is at his Majesty's disposal--my property, my person, and my life are in his hands. But my honour is untouched, and of that not even the King can deprive me."

The man of law bethought him of an old legal maxim. "Very true, Mademoiselle," he replied, "for where there is nothing, the King loses his rights."

Madame de Sauvigny insisted that Mlle. Clairon should proceed to For l'eveque in her own carriage and announced her intention of accompanying her. But, as the carriage in question happened to be a _vis-a-vis_, and the _exempt_ refused to lose sight of his prisoner, the n.o.ble lady was constrained to seat her friend upon her knees, and in this singular fas.h.i.+on they traversed the streets of Paris.[200]

At For l'eveque, the famous actress was treated more like a distinguished guest than a prisoner. The most comfortable room available was allotted her, and furnished in luxurious fas.h.i.+on by her sympathising friends, the d.u.c.h.esses de Duras and de Villeroi and Madame de Sauvigny; the courtyard of the fortress was crowded every day by the carriages of those who came to offer her their sympathy, and she was permitted to give delightful little supper parties. In less than a week, a complaisant physician having certified that further detention would be prejudicial to the lady's health, she was permitted to return home, under certain conditions, which she alludes to in a letter to Garrick, in answer to one of sympathy from the English actor:--

"PARIS, _May 9, 1765._

"My soul, penetrated by a treatment as barbarous as it is unjust, had need, my dear friend, of the pleasure that your letter has brought to it. This letter has interrupted for some moments the indignation and grief which consume me. Never has my health occasioned me so much anxiety, never have the mischances to which I am subjected been so multiplied, so violent. But be tranquil; my courage is superior to all my misfortunes.

"Will you credit it? my comrades are still in prison! I myself was released the fifth day, but have been placed under arrest at my house, and prohibited from receiving more than six specified persons. It is said that Dubois has tendered his resignation; it is to be hoped that it will be accepted, and that we shall be at liberty this evening or to-morrow; it is time we were! As they have refused to permit any of my comrades to come and see me, I am in ignorance of what they think and what they intend to do.

"I am resolved not to give them any advice, but to occupy myself only with my own position, and, above all, with the esteem of honest people; I dare to be confident that I shall obtain that. I shall not share with you my reflections on the past, the present, and the future; not that I fear to submit them to your intelligence and your friends.h.i.+p, but because my letter might be opened, and they might misinterpret me; and I do not wish to afford them any pretext for persecution. Embrace Madame Garrick for me, and rest a.s.sured both of you that I love, esteem, and regret you as much as possible, and as you have the right to expect from the most sensitive and grateful of hearts.

"CLAIRON."[201]

After about three weeks of seclusion, Mlle. Clairon was permitted to resume her ordinary life, and as Dubois, the cause of all the trouble, had now resigned, it was antic.i.p.ated that she would appear again upon the stage. On the plea of ill-health, however, she declined to return to the theatre, and, about the middle of June, it was common knowledge that the actress had requested permission to retire from the stage. The Marechal de Richelieu, First Gentleman of the Chamber, refused her request, a.s.serting that he would never consent to sign her _ordre de retraite_ during his year of office, but offered to grant her leave of absence till the following Easter--that is to say, until the end of the theatrical year, in order that she might have time to go to Geneva and consult the celebrated doctor, Tronchin.

To Geneva she accordingly went, and obtained the advice she came to seek; Tronchin, who, great man though he was, was not above humouring the whims of his distinguished patients, a.s.suring her that he would not answer for the consequences if she returned to the stage.

From Geneva she proceeded to Ferney, in response to a pressing invitation from its master, who a.s.sured her that it was "a temple where incense was burning for her," and that "to see and hear her would be his Fountain of Youth."

When she reached Ferney, Voltaire was ill, but no sooner had she declaimed her part in his _Orphelin de la Chine_, than he professed himself completely cured. During her stay, she performed several times in the little theatre of the chateau, playing Amenade in _Tancrede_ and electre in _Oreste_, and the delighted poet wrote to d'Argental that in the latter character "she had shaken the Alps and Mont Jura"; while, in a letter to Monnet, he declared that she had "made him feel twenty years younger."[202]

On leaving Ferney Mlle. Clairon went to Provence, to visit the Comte de Valbelle. While there, she attended the theatre at Ma.r.s.eilles, and, on being recognised, was loudly cheered by the occupants of the pit, who cried: "_Le Siege de Calais et Mlle. Clairon!_" and refused to desist until the governor of the province, the Duc de Villars, had promised to do all he could to persuade the actress to gratify them.

At the beginning of November, she was again in Paris, where great pressure was brought to bear upon her to induce her to reconsider her determination to retire from the stage. On one condition only would she consent to forget the horrors of For l'eveque, namely, that the Comedie-Francaise should be erected into a Royal Academy of the Drama, which would have the effect of giving a legal status to its members, and would pave the way for the removal of the ecclesiastical ban. A pet.i.tion was accordingly drawn up, which had the support of the Duc de Duras, the Duc d'Aumont, and several other important personages, and submitted to the King. But, owing apparently to the maladroit way in which the Duc de Duras, who had charge of the memoir, presented his case, it was refused; and, at the following Easter, Mlle. Clairon demanded her _conge_, which was accorded her. Here is the _ordre de retraite_:--

"We, Marechal Duc de Richelieu, _pair de France_, First Gentleman of the King's Chamber;

"We, Duc de Duras, _pair de France_, First Gentleman of the King's Chamber;

"Mlle. Clairon, after having served the King and the public for twenty-two years with the greatest a.s.siduity and the greatest attention, finding herself compelled, on account of her health, to quit the theatre, we have accorded her leave to retire, with the pension in conformity with the regulations.

"(Signed)

"THE MAReCHAL DUC DE RICHELIEU.