Paris as It Was and as It Is Part 20

38. _Paphos, Boulevard du Temple._

39. _Vauxhall d'hiver._

40. _-------- d'ete_, S.

41. _-------- a Mousseaux_, S.

42. _-------- a St. Cloud_, S.

43. _-------- au Pet.i.t Trianon_, S.

44. _Jardin de l'hotel Biron, Rue de Varenne_, S.

45. _------ Thelusson, Chaussee d'Antin_, S.

40. _------ Marboeuf, Grille de Chaillot_, S.

47. _------ de l'hotel d'Orsay_, S.

48. _Fetes champetres de Bagatelle_, S.

49. _La Muette, a l'entree du Bois de Boulogne_, S.

50. _Colisee, au Parc des Sablons_, S.

51. _Amphitheatre d'equitation de Franconi, aux Capucines._

52. _Panorama, meme lieu._

53. _Exhibition de Curtius, Boulevard du Temple._

54. _Experiences Physiques, au Palais du Tribunat._

55. _La Chaumiere, aux Nouveaux Boulevards._

56. _Cabinet de demonstration de Physiologie et de Pathologie, au Palais du Tribunat, No. 38, au premier._

Although, previously to the revolution, the taste for dramatic amus.e.m.e.nts had imperceptibly spread, Paris could then boast of no more than three princ.i.p.al theatres, exclusively of _l'Opera Buffa_ introduced in 1788. These were _l'Opera les Francais_, and _les Italiens_, which, with six inferior ones, called _pet.i.ts spectacles_, brought the whole of the theatres to ten in number. The subaltern houses were incessantly checked in their career by the privileges granted to the _Comedie Francaise_, which company alone enjoyed the right to play first-rate productions: it also possessed that of censorship, and sometimes exercised it in the most despotic manner.

Authors, ever in dispute with the comedians, who dictated the law to them, solicited, but in vain, the opening of a second French theatre.

The revolution took place, and the unlimited number of theatres was presently decreed. A great many new ones were opened; but the attraction of novelty dispersing the amateurs, the number of spectators did not always equal the expectation of the managers; and the profits, divided among so many compet.i.tors, ceased to be sufficiently productive for the support of every establishment of this description. The consequence was, that several of them were soon reduced to a state of bankruptcy.

Three theatres of the first and second rank have been destroyed by fire within these two years, yet upwards of twenty are at present open, almost every night, exclusively of several a.s.sociations of self-denominated _artistes-amateurs._

Amidst this false glare of dramatic wealth, theatres of the first rank have imperceptibly declined, and at last fallen. It comes not within my province or intention to seek the causes of this in the defects of their management; but the fact is notorious. The _Theatres Favart_ and _Feydeau_, at each of which French comic operas were chiefly represented, have at length been obliged to unite the strength of their talents, and the disgrace which they have experienced, has not affected any of those inferior playhouses where subaltern performers establish their success on an a.s.semblage of scenes more coa.r.s.e, and language more unpolished.

At the present moment, the government appear to have taken this decline of the princ.i.p.al theatres into serious consideration. It is, I understand, alike to be apprehended, that they may concern themselves too little or too much in their welfare. Hitherto the persons charged with the difficult task of upholding the falling theatres of the first rank, have had the good sense to confine their measures to conciliation; but, of late, it has been rumoured that the stage is to be subjected to its former restrictions. The benefit resulting to the art itself and to the public, from a rivalship of theatres, is once more called in question: and some people even go so far as to a.s.sert that, with the exception of a few abuses, the direction of the _Gentils-hommes de la chambre_ was extremely good: thence it should seem that the only difficulty is to find these lords of the bed-chamber, if there be any still in being, in order to restore to them their dramatic sceptre.[1]

Doubtless, the liberty introduced by the revolution has been, in many respects, abused, and in too many, perhaps, relative to places of public amus.e.m.e.nt. But must it, on that account, be entirely lost to the stage, and falling into a contrary excess, must recourse be had to arbitrary measures, which might also be abused by those to whose execution they were intrusted? The unlimited number of theatres may be a proper subject for the interference of the government: but as to the liberty of the theatres, included in the number that may be fixed on to represent pieces of every description, such only excepted as may be hurtful to morals, seems to be a salutary and incontestable principle. This it is that, by disengaging the French comic opera from the narrow sphere to which it was confined, has, in a great measure, effected a musical revolution, at which all persons of taste must rejoice, by introducing on that stage the harmonic riches of

Italy. This too it is that has produced, on theatres of the second and third rank, pieces which are neither deficient in regularity, connexion, representation, nor decoration. The effect of such a principle was long wanted here before the revolution, when the independent spirit of dramatic authors was fettered by the procrastinations of a set of privileged comedians, who discouraged them by ungracious refusals, or disgusted them by unjust preferences.

Hence, the old adage in France that, when an author had composed a good piece, he had performed but half his task; this was true, as the more difficult half, namely, the getting it read and represented, still remained to be accomplished.

As for the multiplicity of playhouses, it certainly belongs to the government to limit their number, not by privileges which might be granted through favour, or obtained, perhaps, for money. The taste of the public for theatrical diversions being known, the population should first be considered, as it is that which furnishes both money and spectators. It would be easy to ascertain the proportion between the population of the capital and the number of theatres which it ought to comprise. Public places should be free as to the species of amus.e.m.e.nt, but limited in their number, so as not to exceed the proportion which the population can bear. The houses would then be constantly well attended, and the proprietors, actors, authors, and all those concerned in their success, secure against the consequences of failure, and the true interest of the art be likewise promoted. In a word, neither absolute independence, nor exclusive privilege should prevail; but a middle course be adopted, in order to fix the fate of those great scenic establishments, which, by forming so essential a part of public diversion, have a proportionate influence on the morals of the nation.

I have been led, by degrees, into these observations, not only from a review of the decline of some of the princ.i.p.al playhouses here, but also from a conviction that their general principle is applicable to every other capital in Europe. What, for example, can be more absurd than, in the dog-days, when room and air are particularly requisite, that the lovers of dramatic amus.e.m.e.nt in the British metropolis are to be crammed into a little theatre in the Haymarket, and stewed year after year, as in a sweating-room at a bagnio, because half a century ago an exclusive privilege was inconsiderately granted?

The playhouses here, in general, have been well attended this winter, particularly the princ.i.p.al ones; but, in Paris, every rank has not exactly its theatre as at a ball. From the _spectacles_ on the _Boulevards_ to those of the first and second rank, there is a mixture of company. Formerly, the lower cla.s.ses confined themselves solely to the former; at present, they visit the latter. An increase of wages has enabled the workman to gratify his inclination for the indulgence of a species of luxury; and, by a sort of instinct, he now and then takes a peep at those scenes of which he before entertained, from hearsay, but an imperfect idea.

If you wish to see a new or favourite piece, you must not neglect to secure a seat in proper time; for, on such occasions, the house is full long before the rising of the curtain. As to taking places in the manner we do in England, there is no such arrangement to be made, except, indeed, you choose to take a whole box, which is expensive.

In that case you pay for it at the time you engage it, and it is kept locked the whole evening, or till you and your party, make your appearance.[2]

At all the _spectacles_ in Paris, you are literally kept on the outside of the house till you have received a ticket, in exchange for your money, through an aperture in the exterior wall. Within a few paces of the door of the princ.i.p.al theatres are two receiver's offices, which are no sooner open, than candidates for admission begin to form long ranks, extending from the portico into the very street, and advance to them two abreast in regular succession. A steady sentinel, posted at the aperture, repeats your wishes to the receiver, and in a mild, conciliating manner, facilitates their accomplishment. Other sentinels are stationed for the preservation of order, under the immediate eye of the officer, who sees that every one takes his turn to obtain tickets: however, it is not uncommon, for forestallers to procure a certain number of them, especially at the representation of a new or favourite piece, and offer them privately at a usurious price which many persons are glad to pay rather than fall into the rear of the ranks.

The method I always take to avoid this unpleasant necessity, I will recommend to you as a very simple one, which may, perhaps, prevent you from many a theatrical disappointment. Having previously informed myself what _spectacle_ is best worth seeing, while I am at dinner I send my _valet de place_, or if I cannot conveniently spare him, I desire him to dispatch a _commissionnaire_ for the number of tickets wanted, so that when I arrive at the theatre, I have only to walk in, and place myself to the best advantage.

It is very wisely imagined not to establish the receiver's offices in the inside of the house, as in our theatres. By this plan, however great may be the crowd, the entrance is always un.o.bstructed, and those violent struggles and pressures, which among us have cost the lives of many, are effectually prevented. You will observe that no half-price is taken at any theatre in Paris; but in different parts of the house, there are offices, called _bureaux de supplement_, where, if you want to pa.s.s from one part of it to another, you exchange your counter-mark on paying the difference.

Nothing can be better regulated than the present police, both interior and exterior, of the theatres in Paris. The eye is not shocked, as was formerly the case, by the presence of black-whiskered grenadiers, occupying different parts of the house, and, by the inflexible sternness of their countenance, awing the spectators into a suppression of their feelings. No fusileer, with a fixed bayonet and piece loaded with ball, now dictates to the auditors of the pit that such a seat must hold so many persons, though several among them might, probably, be as broad-bottomed as Dutchmen. If you find yourself incommoded by heat or pressure, you are at liberty to declare it without fear of giving offence. The criticism of a man of taste is no longer silenced by the arbitrary control of a military despot, who, for an exclamation or gesture, not exactly coinciding with his own prepossessions, pointed him out to his myrmidons, and transferred him at once to prison. You may now laugh with Moleire, or weep with Racine, without having your mirth or sensibility thus unseasonably checked in its expansion.

The existence of this despotism has been denied; but facts are stubborn things, and I will relate to you an instance in which I saw it most wantonly exercised. Some years ago I was present at the _Theatre Francais_, when, in one of Corneille's pieces, Mademoiselle Raucourt, the tragic actress, was particularly negligent in the delivery of a pa.s.sage, which, to do justice to the author, required the nicest discrimination. An amateur in the _parterre_ reproved her, in a very gentle manner, for a wrong emphasis. Being at this time a favourite of the queen, she was, it seems, superior to admonition, and persisted in her misplaced shrieks, till it became evident that she set the audience at defiance: other persons then joined the former in expressing their disapprobation. Instantly the _major_ singled out the leading critic: two grenadiers forced their way to the place where he was seated, and conveyed him to prison for having had the audacity to reprove an actress in favour at court. From such improper exercise of authority, the following verse had become a proverb:

_"II est bien des sifflets, mais nous avons la garde."_

Many there are, I know, who approved of this manner of bridling the fickle Parisians, on the ground that they were so used to the curb that they could no longer dispense with it. A guard on the outside of a theatre is unquestionably necessary, and proper for the preservation of order; but that the public should not be at liberty to approve or condemn such a pa.s.sage, or such an actor, is at once to stifle the expression of that general opinion which alone can produce good performers. The interior police of the theatre being at present almost entirely in the hands of the public themselves, it is, on that account, more justly observed and duly respected.

Considering the natural impetuosity of their character, one is surprised at the patient tranquillity with which the French range themselves in their places. Seldom do they interrupt the performance by loud conversation, but exchange their thoughts in a whisper. When one sees them applaud with rapture a tender scene, which breathes sentiments of humanity or compa.s.sion, speaks home to every feeling heart, and inspires the most agreeable sensations, one is tempted to question whether the Parisians of the present day belong to the identical race that could, at one time, display the ferocity of tigers, and, at another, the tameness of lambs, while their nearest relations and best friends were daily bleeding on the scaffold?

By the existing regulations, many of which are worthy of being adopted in London, no theatre can be opened in Paris without the permission of the police, who depute proper persons to ascertain that the house is solidly built, the pa.s.sages and outlets uninc.u.mbered and commodious, and that it is provided with reservoirs of water, and an adequate number of fire-engines.

Every public place that may be open, is to be shut up immediately, if, for one single day, the proprietors neglect to keep the reservoirs full of water, the engines in proper order, and the firemen ready.

No persons can be admitted behind the scenes, except those employed in the service of the theatre. Nor is the number of tickets distributed to exceed that of the persons the house can conveniently hold.

No coachman, under any pretext whatever, can quit the reins of his horses, while the persons he has driven, are getting out of or into their carriage. Indeed, the necessity of his doing so is obviated by porters stationed at the door of the theatres, and appointed by the police. They are distinguished by a bra.s.s plate, on which their permission and the name of the theatre are engraved.

At all the theatres in Paris, there is an exterior guard, which is at the disposal of the _civil_ officer, stationed there for the preservation of order. This guard cannot enter the inside of the theatre but in case of the safety of the public being exposed, and at the express requisition of the said officer, who can never introduce the armed force into the house, till after he has, in a loud voice, apprized the audience of his intention.

Every citizen is bound to obey, _provisionally_, the officer of police. In consequence, every person invited by the officer of police, or summoned by him, to quit the house, is immediately to repair to the police-office of the theatre, in order to give such explanations as may be required of him. The said officer may either transfer him to the competent tribunal, or set him at liberty, according to circ.u.mstances.

Proper places are appointed for carriages to wait at. When the play is ended, no carriage in waiting can move till the first crowd coming out of the house has disappeared. The commanding officer of the guard on duty decides the moment when carriages may be called.

No carriage can move quicker than a foot-pace, and but on a single rank, till it has got clear of the streets in the vicinity of the theatre. Nor can it arrive thither but by the streets appointed for that purpose.

Two hours before the rising of the curtain, sentinels are placed in sufficient number to facilitate the execution of these orders, and to prevent any obstruction in the different avenues of the theatre.

Indeed, obstruction is now seldom seen; I have more than once had the curiosity to count, and cause to be counted, all the _private_ carriages in waiting at the grand French opera, on a night when the boxes were filled with the most fashionable company. Neither I nor my _valet de place_ could ever reckon more than from forty to fifty; whereas, formerly, it was not uncommon to see here between two and three hundred; and the noise of so many equipages rattling through the streets, from each of the princ.i.p.al theatres, sufficiently indicated that the performance was ended.

By the number of advertis.e.m.e.nts in the _pet.i.tes affiches_ or daily advertiser of Paris, offering a reward for articles lost, no doubt can exist of there being a vast number of pickpockets in this gay capital; and a stranger must naturally draw such an inference from observing where the pockets are placed in men's clothes: in the coat, it is in the inside of the facing, parallel to the breast: in the waistcoat, it is also in the inside, but lower down, so that when a Frenchman wants to take out his money, he must go through the ceremony of unb.u.t.toning first his surtout, if he wears one in winter, then his coat, and lastly his waistcoat. In this respect, the ladies have the advantage; for, as I have already mentioned, they wear no pockets.