The same author then notices, as a remarkable coincidence, that "Beaumarchais and Da Ponte, at four hundred leagues distance from one another, invented, at the same time, the class of opera since known as "romantic." Beaumarchais's _Tarare_ had been intended for Gluck; Da Ponte's _Don Giovanni_, as every one knows, found its true composer in Mozart. CHAPTER XIII. THE FRENCH OPERA BEFORE AND AFTER THE REVOLUTION. [Sidenote: THE OPERA DURING THE CONVENTION.] A complete history of the French Opera would include something like a history of French society, if not of France generally. It would, at least, show the effect of the great political changes which the country has undergone, and would remind us here and there of her celebrated victories, and occasionally even of her reverses. Under the despotism, we have seen how a simple _lettre de cachet_ sufficed to condemn an _abbé_ with a good voice, or a young girl with a pretty face, to the Opera, just as a person obnoxious to the state or to any very influential personage was sent to the Bastille. During the Regency, half the audience at the Opera went there drunk; and almost until the period of the Revolution the _abbés_, the _mousquetaires_, and the _grands seigneurs_, quarrelled, fought, and behaved in many respects as if the theatre were, not their own private house, but their own particular tap-room. Music profited by the Revolution, in so far that the privileges of the Académie were abolished, and, as a natural consequence, a number of new musical works produced at a variety of theatres which would otherwise never have seen the light; but the position of singers and dancers was by no means a pleasant one under the Convention, and the tyranny of the republican chiefs was far more oppressive, and of a more brutal kind, than any that had been exercised at the Académie in the days of the monarchy. The disobedient daughters, whose admirers got them "inscribed" on the books of the Opera so as to free them from parental control, would, under another system, have run away from home. No one, in practice, was injured very much by the regulation, scandalous and immoral as it undoubtedly was; for, before the name was put down, all the harm, in most cases, was already done. Sophie Arnould, it is true, is said to have been registered at the Opera without the consent of her mother, and, what seems very extraordinary--not at the suggestion of a lover; but Madame Arnould was quite reconciled to her daughter's being upon the stage before she eloped with the Count de Lauragais. To put the case briefly: the _académiciens_ (and above all, the _académiciennes_) in the immoral atmosphere of the court, were fêted, flattered, and grew rich, though, owing to their boundless extravagance, they often died poor: whereas, during the republic, they met with neither sympathy nor respect, and in the worst days of the Convention lived, in a more literal sense than