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 fifty nights successively." There was as crowded an audience on the seventy-second night as on the first. The following is extracted from Grimm's 'Correspondence."
"Answer of M. de Beaumarchais to -----,who requested the use of his private box for some ladies desirous of seeing 'Figaro' without being themselves seen.
"I have no respect for women who indulge themselves in seeing any play which they think indecorous, provided they can do so in secret.
I lend myself to no such acts. I have given my piece to the public, to amuse, and not to instruct, not to give any compounding prudes the pleasure of going to admire it in a private box, and balancing their account with conscience by censuring it in company. To indulge in the pleasure of vice and assume the credit of virtue is the hypocrisy of the age. My piece is not of a doubtful nature; it must be patronised in good earnest, or avoided altogether; therefore, with all respect to you, I shall keep my box." This letter was circulated all over Paris for a week.]
Under the persuasion that there was not a passage left capable of malicious or dangerous application, Monsieur attended the first performance in a public box. The mad enthusiasm of the public in favour of the piece and Monsieur's just displeasure are well known. The author was sent to prison soon afterwards, though his work was extolled to the skies, and though the Court durst not suspend its performance.
The Queen testified her displeasure against all who had assisted the author of the "Mariage de Figaro" to deceive the King into giving his consent that it should be represented. Her reproaches were more particularly directed against M. de Vaudreuil for having had it performed at his house. The violent and domineering disposition of her favourite's friend at last became disagreeable to her.
One evening, on the Queen's return from the Duchess's, she desired her 'valet de chambre' to bring her billiard cue into her closet, and ordered me to open the box that contained it. I took out the cue, broken in two.
It was of ivory, and formed of one single elephant's tooth; the butt was of gold and very tastefully wrought. "There," said she, "that is the way M. de Vaudreuil has treated a thing I valued highly. I had laid it upon the couch while I was talking to the Duchess in the salon; he had the assurance to make use of it, and in a fit of passion about a blocked ball, he struck the cue so violently against the table that he broke it in two. The noise brought me back into the billiard-room; I did not say a word to him, but my looks showed him how angry I was. He is the more provoked at the accident, as he aspires to the post of Governor to the Dauphin. I never thought of him for the place. It is quite enough to have consulted my heart only in the choice of a governess; and I will not suffer that of a Governor to the Dauphin to be at all affected by the influence of my friends. I should be responsible for it to the nation.
The poor man does not know that my determination is taken; for I have never expressed it to the Duchess. Therefore, judge of the sort of an evening he must have passed!"