The Memoirs of Marie Antoinette [102]
upon that."
Still it was constantly reported that "Figaro" was about to be performed; there were even wagers laid upon the subject; I never should have laid any myself, fancying that I was better informed as to the probability than anybody else; if I had, however, I should have been completely deceived. The protectors of Beaumarchais, feeling certain that they would succeed in their scheme of making his work public in spite of the King's prohibition, distributed the parts in the "Mariage de Figaro" among the actors of the Theatre Francais. Beaumarchais had made them enter into the spirit of his characters, and they determined to enjoy at least one performance of this so-called chef d'oeuvre. The first gentlemen of the chamber agreed that M. de la Ferte should lend the theatre of the Hotel des Menus Plaisirs, at Paris, which was used for rehearsals of the opera; tickets were distributed to a vast number of leaders of society, and the day for the performance was fixed. The King heard of all this only on the very morning, and signed a 'lettre de cachet,'--[A 'lettre de cachet' was any written order proceeding from the King. The term was not confined merely to orders for arrest.]-- which prohibited the performance. When the messenger who brought the order arrived, he found a part of the theatre already filled with spectators, and the streets leading to the Hotel des Menus Plaisirs filled with carriages; the piece was not performed. This prohibition of the King's was looked upon as an attack on public liberty.
The disappointment produced such discontent that the words oppression and tyranny were uttered with no less passion and bitterness at that time than during the days which immediately preceded the downfall of the throne. Beaumarchais was so far put off his guard by rage as to exclaim, "Well, gentlemen, he won't suffer it to be played here; but I swear it shall be played,--perhaps in the very choir of Notre-Dame!" There was something prophetic in these words. It was generally insinuated shortly afterwards that Beaumarchais had determined to suppress all those parts of his work which could be obnoxious to the Government; and on pretence of judging of the sacrifices made by the author, M. de Vaudreuil obtained permission to have this far-famed "Mariage de Figaro" performed at his country house. M. Campan was asked there; he had frequently heard the work read, and did not now find the alterations that had been announced; this he observed to several persons belonging to the Court, who maintained that the author had made all the sacrifices required. M. Campan was so astonished at these persistent assertions of an obvious falsehood that he replied by a quotation from Beaumarchais himself, and assuming the tone of Basilio in the "Barbier de Seville," he said, "Faith, gentlemen, I don't know who is deceived here; everybody is in the secret." They then came to the point, and begged him to tell the Queen positively that all which had been pronounced reprehensible in M. de Beaumarchais's play had been cut out. My father-in-law contented himself with replying that his situation at Court would not allow of his giving an opinion unless the Queen should first speak of the piece to him. The Queen said nothing to him about the matter. Shortly, afterwards permission to perform this play was at length obtained. The Queen thought the people of Paris would be finely tricked when they saw merely an ill-conceived piece, devoid of interest, as it must appear when deprived of its Satire.
[The King," says Grimm, "made sure that the public would judge unfavourably of the work. He said to the Marquis de Montesquiou, who was going to see the first representation, "Well, what do you augur of its success?'--'Sire, I hope the piece will fail.'--'And so do I,' replied the King.
"There is something still more ridiculous than my piece," said Beaumarchais himself; "that is, its success." Mademoiselle Arnould foresaw it the first day, and exclaimed, "It is a production that will fail
Still it was constantly reported that "Figaro" was about to be performed; there were even wagers laid upon the subject; I never should have laid any myself, fancying that I was better informed as to the probability than anybody else; if I had, however, I should have been completely deceived. The protectors of Beaumarchais, feeling certain that they would succeed in their scheme of making his work public in spite of the King's prohibition, distributed the parts in the "Mariage de Figaro" among the actors of the Theatre Francais. Beaumarchais had made them enter into the spirit of his characters, and they determined to enjoy at least one performance of this so-called chef d'oeuvre. The first gentlemen of the chamber agreed that M. de la Ferte should lend the theatre of the Hotel des Menus Plaisirs, at Paris, which was used for rehearsals of the opera; tickets were distributed to a vast number of leaders of society, and the day for the performance was fixed. The King heard of all this only on the very morning, and signed a 'lettre de cachet,'--[A 'lettre de cachet' was any written order proceeding from the King. The term was not confined merely to orders for arrest.]-- which prohibited the performance. When the messenger who brought the order arrived, he found a part of the theatre already filled with spectators, and the streets leading to the Hotel des Menus Plaisirs filled with carriages; the piece was not performed. This prohibition of the King's was looked upon as an attack on public liberty.
The disappointment produced such discontent that the words oppression and tyranny were uttered with no less passion and bitterness at that time than during the days which immediately preceded the downfall of the throne. Beaumarchais was so far put off his guard by rage as to exclaim, "Well, gentlemen, he won't suffer it to be played here; but I swear it shall be played,--perhaps in the very choir of Notre-Dame!" There was something prophetic in these words. It was generally insinuated shortly afterwards that Beaumarchais had determined to suppress all those parts of his work which could be obnoxious to the Government; and on pretence of judging of the sacrifices made by the author, M. de Vaudreuil obtained permission to have this far-famed "Mariage de Figaro" performed at his country house. M. Campan was asked there; he had frequently heard the work read, and did not now find the alterations that had been announced; this he observed to several persons belonging to the Court, who maintained that the author had made all the sacrifices required. M. Campan was so astonished at these persistent assertions of an obvious falsehood that he replied by a quotation from Beaumarchais himself, and assuming the tone of Basilio in the "Barbier de Seville," he said, "Faith, gentlemen, I don't know who is deceived here; everybody is in the secret." They then came to the point, and begged him to tell the Queen positively that all which had been pronounced reprehensible in M. de Beaumarchais's play had been cut out. My father-in-law contented himself with replying that his situation at Court would not allow of his giving an opinion unless the Queen should first speak of the piece to him. The Queen said nothing to him about the matter. Shortly, afterwards permission to perform this play was at length obtained. The Queen thought the people of Paris would be finely tricked when they saw merely an ill-conceived piece, devoid of interest, as it must appear when deprived of its Satire.
[The King," says Grimm, "made sure that the public would judge unfavourably of the work. He said to the Marquis de Montesquiou, who was going to see the first representation, "Well, what do you augur of its success?'--'Sire, I hope the piece will fail.'--'And so do I,' replied the King.
"There is something still more ridiculous than my piece," said Beaumarchais himself; "that is, its success." Mademoiselle Arnould foresaw it the first day, and exclaimed, "It is a production that will fail