Napoleon, determined not to tolerate opposition or even criticism in any form, was very severe in regard to the theatrical censorship. In a letter on this subject to the Minister of the Interior, he says: “You must not depend on your officials to know what the theatrical pieces submitted to you for your examination are really like. You must read them yourself, and then decide whether it would be better to permit or to forbid their representation.” Under the Restoration the censorship was not less severe than under Napoleon. The performance of Arnault’s _Germanicus_ in 1815 had results which almost seemed to justify the censorship’s existence. So excited did the audience become, that many of them rose from their seats and fought with walking-sticks. It is from this moment that the order dates by which no walking-sticks or umbrellas must be brought into the theatre. Towards the end of the Restoration, when the romantic school had just arisen in France, with Victor Hugo and Alexandre Dumas as its principal champions on the stage, the censorship, without ceasing to be political and moral, gave itself literary airs, and, inspired by the calmness and moderation of the old classical school, forbade violent scenes and scenes in which ideas of death and, above all, suicide were presented. Thus, in a translation of _Hamlet_, the graveyard scene had to be considerably abridged. Out of consideration for Victor Hugo, who in these early days was a royalist, and who, throughout his long life, was the foremost poet of France, the Minister of Fine Arts, M. de Martignac, consented to read all his pieces and decide upon them himself. He began with “Marion Delorme,” and authorised the representation of that fine work, when suddenly there was a change of Cabinet, and the new minister, M. de la Bourdonnaye, forbade it. Through the intervention, however, of M. Trouvé, Director of Fine Arts, permission was obtained to bring out _Hernani_, to which all kinds of objections had previously been made.