“Many hours before the opening of the ticket-office I verily believe that half the population of Paris was at the doors. Here was a triumph for Beaumarchais! If he sighed for popularity, he had gained it. Persons of the highest rank, even Princes of the Blood, besieged him with letters imploring to be favoured with the author’s tickets. At eleven o’clock in the forenoon, the Duchesse de Bourbon sent her valet to the office to wait until the distribution of the tickets, which was to take place at four o’clock. At two o’clock, the Duchesse d’Ossun laid aside her accustomed dignity and hauteur and herself solicited the crowd to allow her to pass; Madame de Talleyrand, doing violence to her parsimonious disposition, paid triple price for a box. _Cordons bleus_ were seen elbowing their way through the crowd, jostled by Savoyards; the guards were dispersed, the doors forced open, the iron bars broken down, and an inconceivable scene of confusion and danger ensued. One half of the people had been unable to procure tickets, and threw their admission money to the doorkeepers as they passed, or rather, as they were carried along. But, whilst all this was happening outside, the disorder which prevailed within the theatre was, if possible, still greater. No less than three hundred persons who had procured tickets at an early period dined in the boxes. Our theatre seemed transformed into a tavern; nothing was heard but the clattering of plates and the drawing of corks. Then, when the audience were assembled, what a brilliant picture presented itself! The _élite_ of the rank and talent of Paris was congregated there. What a radiant line of beauty was exhibited by the first tier of boxes.”[155] The success of the piece was immense, incredible, surpassing even the fondest hopes of the author and actors. From the opening scene the comedy carried the audience along with it, and each of the pointed allusions to State abuses was greeted with vociferous and prolonged applause, which was by no means confined to the _parterre_. All the principal performers distinguished themselves. Dazincourt played Figaro with all his characteristic humour and sprightliness, at the same time relieving the character from any appearance of vulgarity; Molé was an elegant and dignified Almaviva; Mlle. Sainval, whose efforts had hitherto been mainly confined to tragedy, displayed in the part of the Countess an aptitude for high comedy which surprised as much as it delighted the audience; Mlle. Olivier threw the most enchanting archness and _espièglerie_ into the rôle of the Page; while old Préville rendered Brid’oison a masterly character.