For his refusal to dance, Augustus was this time sentenced to six months' imprisonment; but the opera goers were so eager for his re-appearance that he was set free long before the expiration of the appointed term. He made his _rentrée_ amid the groans and hisses of the audience, who seemed determined to give him a lesson for his impertinence. Then Gaetan, magnificently attired, appeared on the stage, and addressed the public as follows:-- "You wish my son to go down on his knees. I do not say that he does not deserve your displeasure; but remember, that the dancer whom you have so often applauded has not studied the _pose_ you now require of him." "Let him speak; let him endeavour to justify himself," cried a voice from the pit. "He _shall_ speak; he _shall_ justify himself," replied the father. And, turning to his son, he added: "Dance, Auguste!" Auguste danced; and every one in the theatre applauded. The orchestra took no part in the operatic insurrection; and we have seen that the musicians were not invited to contribute anything to the dowry, offered by the Académie to virtue in love and in distress. De Vismes proposed to reward his instrumentalists by giving up to them a third of the receipts from some special representation of Gluck's _Iphigénie en Tauride_. The band rejected the offer, as not sufficiently liberal, and by refusing to play on the evening in question, made the performance a failure. The Academic revolt was at last put an end to, by the city of Paris cancelling de Vismes's lease, and taking upon itself the management of the theatre, de Vismes receiving a large sum in compensation, and the appointment of director at a fixed salary. * * * * * [Sidenote: BEAUMARCHAIS AND GLUCK.] Beaumarchais, while assisting the national revolution with the _Marriage of Figaro_, is known to have aided in a more direct manner the revolution which was now imminent at the opera. It is said, that he was anxious to establish an operatic republic in the hope of being made president of it himself. He is known to have been a good musician. I have spoken of his having held the honourable, if not lucrative, post of music-master to the daughters of Louis XV. (by whom he was as well paid as was Piccinni by that monarch's successor);[64] and a better proof of his talent is afforded, by his having composed all the music of his _Barber of Seville_ and _Marriage of Figaro_, except the air of _Malbrook_ in the latter comedy.