Henry Matthews

The Diary of an Invalid

Mademoiselle Duchesnois as Joan of Arc, via Wikipedia

Source: Henry Matthews, Diary of an Invalid, being the Journal of a Tour in pursuit of health; in Portugal, Italy, Switzerland, and France, in the years 1817, 1818, and 1819, vol. 2 (London: J. Murray, 1824, 4th edition), pp. 283-288

Production: Charles-Joseph Laeillard d’Avirigni, Jeanne d’Arc à Rouen, and Étienne Gosse, Les Femmes politiques, Théâtre Français, Paris, 26 May 1819

Text: 26th. In the evening to the Théâtre Français. When a favourite piece is performed, it is necessary to be at the doors some time before they are opened. But the candidates for places have the good sense to perceive the inconvenience of thronging in a disorderly manner, and the established rule is to form à la queue as it is called; that is, in a column of two a-breast, and every one is obliged to take his place in the rear, in the order in which he arrives. This is done with as much order and regularity as would be observed in a regiment of soldiers; in consequence of which the whole business is conducted without the smallest tumult, and with ease to every one. It is true that the gens d’armes in attendance have authority to enforce this rule, if there should be any person so unreasonable as to refuse compliance; but still great credit is due to the French for their ready adoption of what is rational. The play was Joanne d’Arc. Mademoiselle Duchesnois was the heroine, and a most alarmingly ugly heroine she made; but bodily defects are of little importance if the soul be of the right temper. When that is the case –

“Pritchard’s genteel, and Garrick’s six feet high.”

Her face, however plain, is capable of considerable variety of expression; and, what is of more importance than beauty, there is a great deal of mind in her countenance; for this is absolutely necessary to command our interest and sympathy. Who can sympathize with a simpleton, even if it be a pretty simpleton? Duchesnois drew down much applause, and she deserved it;-she feels justly, and has the faculty of expressing what she feels. This is the extent of her merit; but here, where there is so much unnatural declamation, her style appears to the greatest advantage.

Mademoiselle Volnais, for example, with a plump unmeaning pretty face, chants out her part, with no more apparent feeling or understanding than a parrot.

La Fond, who is a great favourite with the audience, played Talbot with something that was very like spirit and dignity; but he can never conceal the actor; he is all “strut and bellow;” and his voice, though it has great compass, is harsh and unpleasant. The political allusions of which the play is full, particularly the prophetic denunciations of Joanne against England, were eagerly seized by the audience, and rancorously applauded. It must require all the vanity of the French, to sit and hear, as the audience did with patience and complacency, the most fulsome and disgusting flattery addressed to their national feelings, in the vilest and worst taste of clap-traps. The very gallery in England has grown out of its liking for this sort of stuff.

A new after-piece followed—“Les Femmes Politiques;” a pretty trifle written in elegant language, which was charmingly delivered. Mademoiselle Mars and Mademoiselle Dupuis played delightfully; Baptiste ainé looked and spoke like the old gentleman he represented; and Monrose excited a laugh without descending to buffoonery and caricature. This sort of conversational French comedy is delightful;-it is Nature in her best dress—polite—well bred—and sparkling.

But, in comedies where there is more room for the exhibition of comic humour, the French actors are perhaps inferior to our own. We shall in vain look for parallels of what Lewis was, or what Munden and Dowton are; and even with respect to Mademoiselle Mars, excellent as she is in the first and highest walks of comedy, for which she seems designed by nature—being very beautiful, very graceful, and perfectly well-bred;—yet, in characters of archness and humour, she might put a little more heart, and a great deal more mind into her representations. We miss the force, the richness, and the warmth of Mrs. Jordan’s acting, and the exquisite point that she had the art of giving to comic dialogue; which only wanted the embellishments and good-breeding of the French Thalia, to constitute a perfect actress.

The point of perfection would perhaps be found somewhere between the styles of the two nations. To take an example from the Tartuffe —the famous scene between Tartuffe and Elmire is scarcely played up to the intention of the author, by Damas and Mademoiselle Mars, and it certainly might be coloured higher, without overstepping the modesty of nature. Dowton, in Cantwell, may go a little too far with Lady Lambert—and yet who can think so that remembers the effect produced by his management of the interview?— but Damas, in Tartuffe, does not go far enough with Elmire. The scene “comes tardy off:”—bienséance, when carried too far, is a millstone round the neck of tragedy and comedy. Congreve says well, that a scene on the stage must represent nature, but in warmer colours than it exists in reality. It is in Molière particularly, perhaps exclusively, that the French comedians seem to fall short of the author; for Molière is the most humorous of all their writers. He is the Fielding of France, and there is a richness and a raciness about him which are sometimes frittered away in the representation.

Comments: Henry Matthews (1789-1828) was a British judge. On account of ill health, he went on a recuperative tour of Europe over 1817-1819. The published diary of his travels, The Diary of an Invalid (1820), was very popular and went through a number of editions. The two-volume diary has several entries on theatregoing. The play w=he saw at the Théâtre Français (the Comédie-Française) was Charles-Joseph Laeillard d’Avirigni’s Jeanne d’Arc à Rouen, with Joan played by Joséphine Duchesnois. The afterpiece was Les Femmes politiques, a verse comedy by Étienne Gosse. Other performers mentioned include Mlle. Volnais, M. Lafond, Mademoiselle Mars, Mlle. Dupuis and Nicolas Anselme Baptiste (Baptiste aîné).

Links: Copy at Hathi Trust

The Diary of an Invalid

Source: Henry Matthews, Diary of an Invalid, being the Journal of a Tour in pursuit of health; in Portugal, Italy, Switzerland, and France, in the years 1817, 1818, and 1819 vol. 1 (London: J. Murray, 1824, 4th edition), p. 141

Production: unidentified opera, Rome, 8 January 1818

Text: In the evening we went to the Italian comedy, which was so tiresome that we could not endure more than one scene. We drove afterwards to the opera. The theatre large and handsome;— six tiers of boxes. The seats in the pit are numbered, and divided off separately with elbows:— so that you may take any one of them in the morning, and secure it for the whole evening. Some plan of this kind would surely be a great improvement in our own theatres. The dancing was bad, and the singing worse. A set of burlesque dancers amused us afterwards, by aping the pirouettes of the others. The dancing of the stage gives but too much foundation for such caricatures. It is daily becoming less elegant, as the difficult is substituted for the graceful. What can be more disgusting than to see the human figure twirling round with the legs at right angles? In such an attitude, “Man delights not me nor woman neither.” All postures to be graceful should be easy and natural, and what can be more unnatural than this?

Comments: Henry Matthews (1789-1828) was a British judge. On account of ill health, he went on a recuperative tour of Europe over 1817-1819. The published diary of his travels, The Diary of an Invalid (1820), was very popular and went through a number of editions. The two-volume diary has several entries on theatregoing. The theatre he visited in Rome may have been the Teatro Argentina.

Links: Copy at Hathi Trust