Queens of the French Stage Part 20

"THE DUC DE DURAS.[203]

"_Executed at Paris, April 23, 1766._"

For some years after her retirement from the stage Mlle. Clairon resided in a house near the Pont-Royal, where Marmontel speaks of her receptions as "numerous and brilliant." She frequently consented to recite some of her famous roles at the houses of her aristocratic friends, and Horace Walpole writes, under date August 23, 1767: "Arrived in Paris at a quarter before seven; at eight to Madame du Deffand's; found the Clairon acting Agrippine and Phedre; not tall, but I like her acting better than I expected. Supped with her and the d.u.c.h.esses de Villeroi and d'Aiguillon."

Although she never again appeared on the boards of the Comedie-Francaise, the great _tragedienne_ performed on several occasions in private theatres. On February 19, 1767, she played Zelmire in De Belloy's tragedy of that name, at the Hotel d'Esclapon, Rue de Vaugirard, at a performance arranged for the benefit of Mole.[204]

Again, in December 1768, she appeared as Dido and Roxane in _Bajazet_, at the little theatre belonging to the d.u.c.h.esse de Villeroi, before the King of Denmark and the Prince of Saxe-Gotha. Grimm writes:--

"The d.u.c.h.esse de Villeroi has reserved to herself the right of doing the honours to Mlle. Clairon in her little theatre. This celebrated actress played there twice, in the presence of the King of Denmark, the Hereditary Prince of Saxe-Gotha, and a little chosen company, for the theatre can only accommodate a hundred and ten persons. The first time, she played the part of Dido, and the second, that of Roxane, in the tragedy of _Bajazet_. After the play, she was presented by Madame de Villeroi to her august spectator, who drew a ring from his finger and placed it on the finger of the actress; but I know that, in spite of this royal courtesy, he had not the happiness to succeed with the ill.u.s.trious Clairon. In her quality of Dido, she will not have found him tender enough; in her quality of Roxane, she will not have found him sufficiently humble; in her quality of Clairon, she will not have found him sufficiently penetrated with admiration. In fact, notwithstanding the infatuation of the Court and the town for the young monarch, he has had the misfortune to displease the heroine of the Theatre-Francais."[205]

Finally, on the occasion of the fetes at Versailles, in honour of the marriage of the Dauphin and Marie Antoinette, in the spring of 1770, Mlle. Clairon appeared as Athalie and Amenade. But five years of retirement had naturally not been without their effect upon her powers, and her acting seems to have caused general disappointment. Perhaps her unfortunate choice of a gown, "half-brown, half-yellow, which gave her the appearance of a shrivelled-up old woman," had not a little to do with her comparative failure as Voltaire's heroine.

An impression prevailed at this time that had Louis XV. only condescended to express a desire that Mlle. Clairon should return to the Comedie-Francaise she would have consented to do so. But Louis XV. was not such an admirer of the lady's acting as Voltaire--indeed, he seems to have preferred Mlle. Dumesnil--and when, three years before, Mlle.

Clairon had caused him to be informed that she was prepared to play at Versailles as often as his Majesty might command he had replied, to her intense chagrin, that he found the other actresses very capable.[206]

On her retirement from the theatre, Mlle. Clairon had opened a kind of dramatic academy. Here she trained a number of aspirants to histrionic fame, several of whom were destined to make their mark in years to come. Among these may be mentioned the beautiful Mlle. Raucourt, herself, in her turn, the Queen of the Comedie-Francaise, and that excellent actor, Larive.

For Larive, the ex-_tragedienne_ appears to have conceived an almost maternal affection, leaving no stone unturned to ensure his success upon the stage, and corresponding with him regularly for many years. Her early letters are chiefly of a professional kind: advice as to the way in which certain parts are to be played, as to the costumes suitable to those parts, and so forth. But occasionally we find her descending to more personal matters, rallying him on his _bonnes fortunes_, and moralising in the style of an indulgent elder brother.

"You have then made a conquest," she writes, "and of a fine lady, you say? I am not astonished, since you are a very handsome man. But I cannot prevent myself from telling you that you are a great imbecile. If she is a woman who makes a profession of gallantry, or a marriageable girl, you ought certainly to refuse to have anything to do with her. A man should avoid the first, for fear of accidents, and never have to reproach himself with having corrupted the other. But if she be a married woman or a widow, that is current coin, the property of every one, and you will be doing wrong not to make use of it. No engagement, no prejudice, need restrain you. You are a man, young; you are bored.

Guarantee yourself a serious attachment; that is an excellent thing; but why refuse to your senses, and to the necessity of diverting your mind, the tribute which both demand?"

In a letter, which, like the above, bears no date, but which was probably written in the summer of 1772, we find a person mentioned who was to play a very important part in Mlle. Clairon's future life:--

"You have extended your hospitality to a dog; I have extended mine to a little boy. Mole sent me an unhappy widow with six children in want of bread. I have taken charge of one, and am busying myself in finding means to allow the rest to live. I shall not keep the child at my house; he is a little devil, and that annoys and wearies me. _But since he bears a close resemblance to the Margrave_ (of Ans.p.a.ch), whom I am expecting to see arrive here this autumn, I have taken the child, in the hope of sending him to Germany. If that plan falls through, I shall put him to a trade, and pay his apprenticeship to whatever one his mother may choose."

Christian Frederick Charles Alexander, Margrave of Ans.p.a.ch, Baireuth, and Brandenburg, Duke of Prussia, Count of Sayn, was the son of Frederick the Great's sister, Frederika Louise, and that potentate's favourite nephew. Born in 1736, and married, against his will, by his father, to a princess of Saxe-Coburg, "who resembled a faded lily which had begun to grow yellow," he spent the greater part of his time in travelling in Italy, Holland, and France, and "gratifying his tastes for the arts and feminine society."

The Margrave was not handsome, in fact, his appearance was distinctly unprepossessing. He had "a retreating forehead, sunken eyes, a nose like a trumpet, an enormously long peaked chin, and a long ungainly neck." On the other hand, he was well-educated, sensible, and good-natured; "the best prince in Germany," said the Austrian Chancellor, Kaunitz, who was certainly in a position to judge.

The Margrave fell in love with Mlle. Clairon, who, though nearly old enough to be his mother, was still pretty; and, on the occasion of one of his frequent visits to Paris, invited her to return with him to Ans.p.a.ch and be his Margravine of the left-hand. To the ex-_tragedienne_, who had so often played the queen upon the stage, the prospect of occupying a quasi-royal position at this little German court was not without its attractions; perhaps ere long, she thought, the faded-lily princess might wither away altogether, in which event the consort of the left-hand might become the consort of the right. Moreover, her vanity was naturally flattered by the homage of a man twelve years her junior, and that man a Serene Highness! And, finally, it happened that she had just quarrelled violently with the Comte de Valbelle, who, not content with an occasional infidelity, as had been the case in the early days of their connection, had become a sort of professional Don Juan, who "brought daily pretty girls into his park," outraged husbands, supplanted lovers, and, in short, misconducted himself in so shocking a manner that, according to his disgusted mistress, "every one detested him from the bottom of their hearts."

And so it came about that, one fine day in the spring of 1773, Mlle.

Clairon bade farewell to all her friends in Paris, and set out for Ans.p.a.ch, whence she wrote to the faithless Valbelle that it was her intention "to consecrate the remainder of her days" to the Margrave.

At Ans.p.a.ch, Mlle. Clairon remained for seventeen years. Our chief source of information in regard to this period of her career are her own letters to her old pupil, Larive, with whom she continued to correspond regularly. In the earliest of these, she can hardly find words to describe the joys of her new life.

"I am very well," she writes, shortly after her installation, "and taking into consideration the care, the homage, the comforts, the kindnesses, and the marks of attachment that are lavished upon me, it would be impossible for my heart and my vanity not to be satisfied. My house does not grow less full; the greatest ladies do me the honour of supping with me. You cannot form any idea of the position I occupy in this country. I believe that I am in a dream. Sometimes I am tempted to imagine myself a personage...."

And again, under date October 15, 1773:--

"Would to Heaven, my dear child, that I had you near me! I should then be able to say that never had I been so happy. Every comfort, no kind of vexation, consideration, a commodious and beautiful house, a well-ordered, pleasant, and honourable life independent of the caprices which formerly troubled me, the impossibility of meeting ungrateful people, of seeing or hearing anything which recalls them, the opportunity of doing good--all this renders my life infinitely sweet.

Add to all these blessings the certainty of making the happiness of the sweetest and kindest being I have ever known. After you had seen him, you would love him: that is nothing; one cannot form any idea of this good prince, unless you live with him. I see him every day, and am equally astonished at his frankness and the n.o.ble simplicity that characterises all his actions. It is for such sovereigns that it is just and right to sacrifice one's life, and I feel no regret at having sacrificed mine to him."

But this enthusiasm does not last long, and, before twelve months have pa.s.sed, we find Mademoiselle complaining of everything at Ans.p.a.ch, from the air to the cooking. In one letter she tells her correspondent that "the air of the country and _ennui_ are killing her"; in another, that she has had to send for a French cook, because the Ans.p.a.ch cooking "displeased as much as it disagreed with her";[207] in a third, that she has had to abandon an attempt to establish a theatre at the Court, "because there are scarcely a dozen persons there who can carry on a conversation in French, while the rest do not understand a word of the language"; and, in a fourth, that "the women of this country are dest.i.tute of every grace to which your eyes are accustomed."

The fact of the matter was that the Court of Ans.p.a.ch did not approve of the advent of Mlle. Clairon; it feared that her installation would, sooner or later, be followed by an invasion of her compatriots, who would seize upon all the most lucrative posts in the State, and generally upset the established order of things. Neither had the Ministers been educated to serve under a _maitresse en t.i.tre_, as had those of France; they resented the interference of a woman--especially a foreigner--in the counsels of their master, and one of them, if Mlle.

Clairon is to be believed, actually carried his resentment so far as to conspire against her life. Moreover, although the poor Margravine herself was compelled, through fear of her husband's anger, to treat her rival with courtesy, and even to invite her to her table, the other ladies of the Margrave's family, like the d.u.c.h.esse of Wurtemburg and the Margravine of Baireuth, absolutely refused to recognise the ex-_tragedienne_, and the feminine portion of the Court seems to have taken its cue from them, rather than from its nominal head.

However, in spite of difficulties and mortifications, Mlle. Clairon remained at her post, and, according to her own account, used the influence she had acquired over the Margrave in a highly beneficent manner; destroying abuses, reforming the finances, encouraging agriculture, and so forth. She also beautified the city of Ans.p.a.ch by an ornamental fountain, established a hospital, distributed considerable sums in charity, and was very popular among the poorer cla.s.ses.

[Ill.u.s.tration: ELIZABETH BERKELEY, COUNTESS OF CRAVEN, AFTERWARDS MARGRAVINE OF ANs.p.a.cH

After the drawing by Sir JOSHUA REYNOLDS]

In the course of the year 1789, Mlle. Clairon found herself called up to face a rival influence. The eccentric and "_infinitamente_ indiscreet,"[208] but charming and accomplished Elizabeth, Countess of Craven, descended upon Ans.p.a.ch. The countess had separated from her husband in 1780, since which she had spent the greater part of her time in wandering about the Continent. In the course of her travels, she had met the Margrave, whom she had known when she was a child, and who invited her to Ans.p.a.ch. She came, and her stay was a long one. She infused new life into that dull German Court; she organised a theatre in a disused coach-house, and wrote little plays for it; she had a garden laid out in the English style, under her direction, at the Margrave's palace of Triesdorf, near Ans.p.a.ch; she founded a little academy for the encouragement of literature and the arts, and found means to amuse even the unamusable Margravine. Finally, she stole away the heart of the Margrave from his grey-haired Egeria, and wrote to her husband, with whom she still corresponded, that she was to be "treated as a sister."

At length, Lady Craven left for Paris. Soon afterwards, the Margrave announced his intention of visiting the French capital; Mlle. Clairon decided to accompany him. In Paris, the Margrave favoured her with so little of his company that she felt constrained to inquire the reason.

The prince returned an evasive answer; Mlle. Clairon caused a watch to be kept upon his movements, and discovered the fatal truth. So long as the Margrave remained in Paris, the deceived sultana, by a great effort of will, succeeded "in concealing beneath a countenance always calm, and sometimes laughing, the rending tortures of mind and body." But when the prince returned to Ans.p.a.ch, she declined to follow him, and sent instead a long and reproachful letter, wherein she informed him that "his frenzied pa.s.sion for a woman of whose character, unfortunately, he alone was ignorant, his indifference to public opinion, the license of his new morals, his want of respect for his age and his dignity, obliged her to see in him only one who had thrown aside all restraint and decency in compliance with the dictates of a depraved heart, or as one whose disordered intellect, while it excited pity, evinced also the necessity of restraint; that the veil was now lifted, and she knew herself never to have been anything but the hapless victim of his egotism and his divers caprices; and that, therefore, with infinite pain, she laid at his feet all the boons she had received from him, and bade him adieu ...

adieu for ever."

And so ended the last romance of Mlle. Clairon, and the only souvenir of her seventeen years' residence at Ans.p.a.ch is a kind of fancy bread, which is called "_Clairons Weck_" unto this day.[209]

As for the faithless Margrave, he was too happy in the society of Lady Craven, who shortly afterwards took up her residence at Ans.p.a.ch, to care much what became of her predecessor in his affections; and so infatuated did he become with that lady that, on his wife's death in 1791, he married her. In the following year, the prince--in the face of an eloquent letter of remonstrance from Mlle. Clairon--sold his margravates of Ans.p.a.ch and Baireuth to the King of Prussia, and migrated, with his wife, to England, where he died in 1806. The Margravine survived her husband more than twenty years, and died, at Naples, in 1828.

In 1785, during one of the visits to Paris which she had paid in company with the Margrave, Mlle. Clairon had purchased a country-house at Issy, and it was here that she now took up her residence. She lived a very quiet life, receiving and visiting a few old friends, and occupying the rest of her time with collecting objects of natural history, which had always been one of her favourite occupations, and the writing of her _Memoires_.

Madame Vigee Lebrun, the painter, who met Mlle. Clairon soon after her return to France, at the house of her former pupil, Larive, has left us the following impression of the famous _tragedienne_ in her old age:--

"I had pictured to myself that she was very tall; and, on the contrary, she was very short and very thin; she held her head very erect, which gave her an air of dignity. I never heard any one speak with so much emphasis, for she retained her tragic tone and airs of a princess; but she gave me the impression of being clever and well informed. I sat beside her at table, and enjoyed much of her conversation. Larive showed her the greatest respect and attention."[210]

Early in the year 1792, Mlle. Clairon completed her _Memoires_, which she entrusted to Henri Meister, the friend of Diderot and the Neckers, who was leaving Paris for Germany, on the condition, so she subsequently a.s.serted, that they should not be given to the world until ten years after her death. One day, however, in 1798, she learned, to her astonishment, through an article in a Paris journal, that they had been published in Germany, whereupon she hurriedly brought out a French edition, bearing the t.i.tle: _Memoires d'Hippolyte Clairon et Reflexions sur la declamation theatrale_.

These _Memoires_, written in an absurdly solemn and grandiloquent style, even for the time, and "interspersed," says the admiring editor of the English edition, "with precepts of practical morality which would do honour to our greatest philosophers," reveal to us a very different Clairon from the Clairon of the police-reports and of the memoirs and correspondence of her contemporaries; but, unfortunately, there can be very little doubt which portrait comes nearer the truth. Partly, no doubt, for this reason, they had only a moderate success; and though several copies bear the words "_Seconde edition_" they were, as a matter of fact, not reprinted until 1822, when they appeared in the well-known _Collection des Memoires sur l'art dramatique_. The most interesting part of the book, in our opinion, are the chapters which the actress devotes to reflections upon her art, some of which may still be read with profit by candidates for histrionic fame. But what aroused most attention at the time the work was published was the celebrated history of the lady's ghost--the spectre of a young Breton whom she had pitilessly left to die of love, and who had vowed on his death-bed to haunt her for the remainder of her life.

Never was there so persistent and vindictive an apparition--though the term apparition is perhaps a misnomer, as the shade of the departed never actually showed itself. It was perpetually visiting her at the most unexpected times and in the most unexpected places--at her _pet.i.ts soupers_, while she was riding in her coach to shop in the Rue Saint-Honore, and so forth. Sometimes its presence was announced by "a long-continued and piteous cry," which so terrified an elderly admirer who happened to be present on one occasion, that he "had to be conducted to his carriage more dead than alive";[211] sometimes by a loud report like that of a musket; at others by "a noise like the clapping of hands"; and finally, by "a celestial voice singing the most tender and pathetic airs."[212] No solution of these singular phenomena was ever forthcoming, though the a.s.sistance of the police was invoked in order to probe the mystery. But the most probable explanation is a little plot on the part of some friends of the young Breton to read the lady a much-needed lesson.

On her retirement from the stage, Mlle. Clairon had been in possession of a comfortable fortune, producing an income of some 18,000 livres; and though this had been considerably reduced by the financial jugglery of the Abbe Terrai, the loss had been subsequently repaired by the sale of her jewellery, art treasures, and natural history collection, which had realised 90,000 livres. In her old age, however, she fell into great poverty, though to attribute her financial losses to the Revolution--which swept away so many fortunes--as have several writers, would appear to be without justification, as on Fructidor 26, Year III., at a time when money was exceedingly scarce, we find her writing to a M.

Perignon, advocate, requesting him to find her a secure investment for a sum of 24,000 livres; while so late as October 9, 1801, when she made her will, she would appear, to judge by the various bequests she makes, to have been still in easy circ.u.mstances.[213]

On the other hand, there can be no question that between that date and her death, fifteen months later, she was reduced to great distress, as witness the following appeal addressed to Chaptal, the Minister of the Interior, and in response to which she received an order on the Treasury for 2000 livres:--

"CITIZEN MINISTER,--For a month past I have been vainly seeking a protector to bring me to your notice; but if it be true that you are of a generous disposition, it is to you alone that I should address myself.

Seventy-nine years of age, almost in want of the necessaries of life, celebrated at one time by the possession of some talents, I wait at your door until you condescend to grant me a moment.

CLAIRON."[214]