Soon the passions evoked by the Revolutionary movement were felt on the boards, and the staid old Comédie Française was rent by rival factions. The performance of Chenier's patriotic tragedy, _Charles IX._, on 4th November 1789, was made a political demonstration, and the pit acclaimed Talma with frantic applause as he created the _rôle_ of Charles IX., and the days of St. Bartholomew were acted on the stage. The bishops tried to stop the performances, and priests refused absolution to those of their penitents who went to see them. The Royalists among the Comedians replied by playing a loyalist repertory, _Cinna_ and _Athalie_, amid shouts from the pit for _William Tell_ and the _Death of Cæsar_, and Molière's famous house became an arena where political factions strove for mastery. Men went to the theatre armed as to a battle. Every couplet fired the passions of the audience, the boxes crying, "_Vive le roi!_" to be answered by the hoarse voices of the pit, "_Vive la nation!_" Shouts were raised for the busts of Voltaire and of Brutus: they were brought from the foyer and placed on the stage. The very kings of shreds and patches on the boards came to blows and the Roman toga concealed a poignard. For a time "idolatry" triumphed at the Nation, but Talma and the patriots at length won. A reconciliation was effected, and at a performance of the _Taking of the Bastille_, on 8th January 1791, Talma addressed the audience saying that they had composed their differences. Naudet, the Royalist champion, was recalcitrant, and amid furious shouts from the pit, "On your knees, citizen!" at length gave way, embraced Talma with ill-grace, and on the ensuing nights the Revolutionary repertory, _The Conquest of Liberty_, _Rome Saved_, and _Brutus_ held the boards. The court took their revenge at the opera where the boxes called for the airs, "O Richard, O mon roi," and "Règne sur un peuple fidèle," while the king, queen and dauphin appeared in the box amid shouts of "_Vive le roi!_" On 13th January of the same year the restrictions on the opening of playhouses were revoked, and by November no less than seventy-eight theatres were registered on the books of the Hôtel de Ville. The Théâtre Français became the Théâtre de la Republique, and during the early months of '93, when the fate of the monarchy hung in the balance, the most popular piece was _Catherine_, or _The Farmer's Fair Wife_ (_La belle Fermière_). _Fénelon_, a new tragedy, was often played, and on 6th February citizen Talma acted Othello for his benefit performance.