[165] Ducis’s adaptation--or distortion--of _Othello_, first produced on November 26, 1772, differed materially from the original play. “Iago’s villainy,” says Mr. Hawkins, in his “French Stage in the Eighteenth Century,” “was thought too deep and patent, especially for a Parisian audience. Pesare, as the ancient is called here, is accordingly transformed into something like an ordinary confidant, to all appearance full of sincere _bonhomie_, and with his devilish purpose hidden until he has been seen for the last time. Ducis, it has been well remarked, was extremely afraid of arousing too much emotion among his auditors. Another essential difference lay in Cassio being really in love with Desdemona (re-named Hédelmone).” Changes of minor importance were the substitution of a letter for the handkerchief, and a poniard for the pillow. Ducis also adapted--or distorted--_Hamlet_, _Romeo and Juliet_, _Macbeth_, and _Lear_. [166] _Journal de Paris_, March 7, 1809. [167] Antoine Dubois (1756-1837), the leading obstetric surgeon of the time. He assisted at the accouchement of the Empress Marie Louise, and was made a baron of the Empire. His son, Paul Dubois, was also a celebrated accoucheur, and the author of several able works on obstetrics. [168] A character in the _Joueur_ of Regnard. [169] Gaboriau, _Les Comédiennes adorées_, p. 207. [170] Edmond de Goncourt, _Madame Saint-Huberty, d’après sa correspondance et ses papiers de famille_, p. 12. [171] Cited by Edmond de Goncourt, _Madame Saint-Huberty, d’après sa correspondance et ses papiers de famille_, p. 14. [172] If one is to believe a little brochure of the time, bearing the title of _Chronique scandaleuse des théâtres, ou Aventures des plus célèbres actrices, chanteuses, danseuses, et figurantes_, the lessons given by Gluck to Madame Saint-Huberty were not entirely gratuitous. “In one of those moments of incontinency to which the greatest men often yield, the celebrated Gluck recognised in her talents which had not even been suspected and which attached him to her. He resolved to make of her an actress. In like manner, the famous Champmeslé was formed by the care and counsels of Racine. However, one ought not to compare the German Orpheus to the French Euripides. Gluck sought less to teach the sentiments of which he taught her the expression, than to inspire her with the fire of his genius, and, as he had always preserved the rusticity of his German manners, he did not often fail to commit himself to it in his lessons....” [173] All the critics were not so kind as the scribe of the _Mercure_, and one went so far as to declare that the _débutante_ was “very ugly, very bad,” and that “she could not possibly long retain her position on the lyric stage.” [174] Edmond de Goncourt, _Madame Saint-Huberty_, p. 20.