TABLEAUX VIVANTS
In the year 1846 there was a spectacle that caused a furore in Paris. It was that afforded by women attired only in pink tights and a gauze skirt executing poses that were called _tableaux vivants_, with a few men to complete the groups. This show was given at the Porte Saint Martin and at the Cirque. I had the curiosity one night to go and see the women behind the scenes. I went to the Porte Saint Martin, where, I may add in parentheses, they were going to revive "Lucrece Borgia". Villemot, the stage manager, who was of poor appearance but intelligent, said: "I will take you into the gynecium."
A score of men were there--authors, actors, firemen, lamp lighters, scene shifters--who came, went, worked or looked on, and in the midst of them seven or eight women, practically nude, walked about with an air of the most nave tranquillity. The pink tights that covered them from the feet to the neck were so thin and transparent that one could see not only the toes, the navel, and the b.r.e.a.s.t.s, but also the veins and the colour of the least mark on the skin on all parts of their bodies.
Towards the abdomen, however, the tights became thicker and only the form was distinguishable. The men who a.s.sisted them were similarly arranged. All these people were English.
At intervals of five minutes the curtain parted and they executed a _tableau_. For this they were posed in immobile att.i.tudes upon a large wooden disc which revolved upon a pivot. It was worked by a child of fourteen who reclined on a mattress beneath it. Men and women were dressed up in chiffons of gauze or merino that were very ugly at a distance and very ign.o.ble _de pres_. They were pink statues. When the disc had revolved once and shown the statues on every side to the public crowded in the darkened theatre, the curtain closed again, another tableau was arranged, and the performance recommenced a moment later.
Two of these women were very pretty. One resembled Mme. Rey, who played the Queen in "Ruy Blas" in 1840; it was this one who represented Venus.
She was admirably shaped. Another was more than pretty: she was handsome and superb. Nothing more magnificent could be seen than her black, sad eyes, her disdainful mouth, her smile at once bewitching and haughty.
She was called Maria, I believe. In a tableau which represented "A Slave Market," she displayed the imperial despair and the stoical dejection of a nude queen offered for sale to the first bidder. Her tights, which were torn at the hip, disclosed her firm white flesh. They were, however only poor girls of London. All had dirty finger nails.
When they returned to the green room they laughed as freely with the scene shifters as with the authors, and talked broken French while they adjusted all kinds of frightful rags upon their charming visages. Their smile was the calm smile of perfect innocence or of complete corruption.
AT THE ACADEMY.
Session of November 23, 1843.
CHARLES NODIER.--The Academy, yielding to custom, has suppressed universally the double consonant in verbs where this consonant supplanted euphoniously the _d_ of the radical _ad_.
MYSELF.--I avow my profound ignorance. I had no idea that custom had effected this suppression and that the Academy had sanctioned it. Thus one should no longer write _atteindre, approuver, appeler, apprehender_, etc., but _ateindre, aprouver, apeler, aprehender_?
M. VICTOR COUSIN.--I desire to point out to M. Hugo that the alterations of which he complains come from the movement of the language, which is nothing else than decadence.
MYSELF.--M. Cousin having addressed a personal observation to me, I beg to point out to him in turn that his opinion is, in my estimation, merely an opinion and nothing more. I may add that, as I view it, "movement of the language" and decadence have nothing in common. Nothing could be more distinct than these two things. Movement in no way proves decadence. The language has been moving since the first day of its formation; can it be said to be deteriorating? Movement is life; decadence is death.
M. COUSIN.--The decadence of the French language began in 1789.
MYSELF.--At what hour, if you please?
October 8, 1844.
This is what was told to me at to-day"s session:
Salvandy recently dined with Villemain. The repast over, they adjourned to the drawing-room, and conversed. As the clock struck eight Villemain"s three little daughters entered to kiss their father good night. The youngest is named Lucette; her birth cost her mother her reason; she is a sweet and charming child of five years.
"Well, Lucette, dear child," said her father, "won"t you recite one of Lafontaine"s fables before you go to bed?"
"Here," observed M. de Salvandy, "is a little person who to-day recites fables and who one of these days will inspire romances."
Lucette did not understand. She merely gazed with her big wondering eyes at Salvandy who was lolling in his chair with an air of benevolent condescension.
"Well, Lucette." he went on, "will you not recite a fable for us?"
The child required no urging, and began in her nave little voice, her fine, frank, sweet eyes still fixed upon Salvandy:
One easily believes one"s self to be somebody in France.
1845.
During the run of M. Ponsard"s "Lucrece", I had the following dialogue with M. Viennet at a meeting of the Academy:
M. VIENNET.--Have you seen the "Lucrece" that is being played at the Odeon?
MYSELF.--NO.
M. VIENNET.--It is very good.
MYSELF.--Really, is it good?
M. VIENNET.--It is more than good, it is fine.
MYSELF.--Really, is it fine?
M. VIENNET.--It is more than fine, it is magnificent.
MYSELF.--Really, now, magnificent?
M. VIENNET.--Oh! magnificent!
MYSELF.--Come, now, is it as good as "Zaire"?
M. VIENNET.--Oh! no! Oh! you are going too far, you know. Gracious!
"Zaire"! No, it is not as good as "Zaire".
MYSELF.--Well, you see, "Zaire" is a very poor piece indeed!