The Indiana State sentinel. [volume] (Indianapolis) 1868-1895, 1875-02-16
THE DIANA.
THE CoMER.lE FRANoAIsE.

THE COMMENCEMENT OF THR GREATEST ORA
MATIC TEMPLE ON EARTH-EIGHTY YEARS
OF BRILLIANT SUCCESSES FROM THE
TRAGEDIES OF voLrAIRE TO THE PALACE
OF THR TUILERIEs.
Mrs. Lucy Hamilton Hooper writes an en-
tertaining historical sketch of the French
drama, as indicated by the actors and
actresses who have appeared in the Comedie
Franchise: The frst commencement Of this
world-famed theater, the greatest dramatic
temple upon earth, wes humble and COM
monplace enough, company OF come
disns soon after the accession of
Henn w. having founded in the
environs of the Hotel St. Paul, the
Thester du Marais. But it was not till 1850
that Louis XIV commanded the union of
the then existing theatrical troupes under
the title of the Coincide Franchise, and
granted to the new theater the exclusive
privilege of playing comedies and tragedies.
1t was then the sole theater which existed
of the public. In 1882 the king
granted a pension Of 1900 livres ''to his
comedians" that being the first government
tai sGbvention accorded to the new estab-
lishment. In 1859 il took possession of the
new theater in the Rue des Fosses st. Ger
main des Pies, which has since then been
known, and, indeed, still is called, the Rue
de PAncienne Comedie. In this build
ing il remained for eighty years,
which years were, in some respects, the
most brilliant in the whole of its brilliant
existence. On that stage were first repre-
sented the tragedies of Voltaire. the come
dies of Morisaux, and over five hundred
other PLAYS. most of which are. however, now
forgotten; there, also. appeared Mesdames
Duclos, Adrienne Lecouvreur, -Dumesnil,
and Clarion, and the great actor, LEX ain.
The old theater still exists at No.
10 NJ Of ha
hall serving artists studio lit was 40
used for some years by Horace Vernet), and
a battered bas-relief being still visible on
the facade. In 1870, royal guest for royal
host, the Coincide Francaise was transferred
to theater then existing in the Palace OF
the Tuileries, where 1t remained twelve
years and where the Barber of Seville"
by Beaumarchais, was first produced. Next,
in 1852, it was removed to the newly built
theater, nearly opposite to the Palace OF the
Luxembourg, the building which Is to-day
the Tneater de POdeon, the second Theater
Franchise. The revolution of '93
SUPPRESSED THE coMKDIE FRANcAIsE
with all other royal institutions, and the un
fortunate actors and actresses were at one
time arrested en- masse and shut up in
prison, the sapguinary Collet d'Herbers
suggesting that the leading actor should be
guillotined and the rest transported. But
this bloodthirty project was not put into
execution, and after-a short detention the
unlucky comedians were set at liberty aud
permitted to pursue their vocation, which
they did with varying fortune. Ii was not,
however, until 1903 that the Comedie Fran
caise reconstructed by the first Napoleon,
took again form and shape, and was estab
lished in its present quarters at the corner
OF the Palais Royal. on the Rue Richelieu.
Napoleon was fond of the drama, and pro-
tected aud encouraged IL by every means in
his power, nor did he disdain to admit the
members of the theatrical profession to
intimacy with him, his friendship for
Talma being matter of history, as is also his
passion for the beautiful Mile. Georges. he
also greatly admired the acting of Mile.
Mars, and showed her degree of favor
W hich caused that celebrated and charming
actress to remain an ardent imperialist till
her death. 1t was in 1795 that this last men,
tened artistic, the greatest of the comme-
diennes of our century, made her debut on
the boards of the Coincide Franchise. Beau
tiful, graceful and winning, full, brilliant,
dark eyes, dazzling teeth, svoice of music and
form, which, to her latest days, never
ceased to be that OF q girl of twenty, she
took all hearts by storm. / have been told
by those " ho can remember her during the
later years of her brilliant career, that she
was the last of the great. ladies OF the stage,
her distinction of manner and elegance OF
diction being singularly perfect. She ex-
celled in high comedy, though admirable in
tragedy, but she had two serious defects, one
Of which, strange deficiency Tor French
woman, was an absolute
LACK OF TASTE IN DRESS.
Victor Hugo mas recorded how she annoyed
him by persisting In playing the Venetian
Thisbe in his "Angelo" in fur -bordered,
round Russian cap. which she fancied made
her look youthful. Some of the data of this
period &C the Coincide Franchise may not be-
uninterest, ,ng, so will briefly mention that
Scribe made his debut at that theater In
1872 with his comedy of"Valerie," piece
which is still frequently played; Alexander
Dumas, with "Henri III. and his Court"
in 1929, and Victor Hugo, with Hermann"
in 1880, these two last being the pioneer
plays of the great warfare between the ro-
mantle and the classic drama. The revo-
luton of 1880 struck a violent blow at the
Comedie Franchise. The crowd went In
preference to the Porte st. Martin and the
Odeon, and the receipts sank to q per-
tectly absurd figure. "Tartufe and
lie Legs, produced one evening the amount
of 6S francs ($l3 COY, and the whole receipts
of the year barely reach the sum of 800 600
francs. The subvention was only 2O0,0
francs, an amoUht totally insufficient TO I'LL
up the gap caused by the decline in the re-
ceipts, and i'm 1888 the debt of the theater
amounted to 600,000 francs. But q change in
it's destnies was at hand. On the 18th OF
June, 1888, before house representing re-
ceipt of 753 francs. a thin, black.eyed young
Jewess made her debut in the role of Camille,
in LES Horaces.o She laid her hand upon
the dry bones of classic tragedy, and the
dead drama awoke to lie and beauty be-
meath the magic of her genius. From that
time the weird and glorious acting Of Rachel
attracted anew the crowd TO the Theater
Francsis. For seventeen years abe reigned
the undisputed queen of the French tragic
drama; she knew no rival; and when she
finally quilted its boards she left behind her
no successor. The details OF
THAT REMARKABLE CAREER,
so untimely blighted and SO sadly termin-
ated, have SO often been discussed that they
call for no special mention here. And yet,
notwithstanding the undeniable genius OF
Mile. Rachel. the brilliancy OF her career,
the crowded houses which she always drew,
1t is matter OF serious doubt among the
sincerest lovers of the dramatic art as to