Queens of the French StageWilliams, H. Noel (Hugh Noel)
History
Queens of the French Stage
Williams, H. Noel (Hugh Noel)
Actresses -- France -- Biography
Marmontel had been in love with a certain Mlle. Navarre, whose heart he
had stolen away from Maurice de Saxe, much to the indignation of the
famous Marshal,[177] and who had made of him "the happiest of lovers
and the most miserable of slaves." One day, he learned that his
enchantress had jilted him, in his turn, for the Chevalier de Mirabeau,
upon which he went home, "fell down like a sacrificed victim," and was
for some time alarmingly ill. Mlle. Clairon came to console him, when
the following conversation took place:--
"'My friend,' said she, 'your heart needs some object of love; you feel
listless, because it is empty. You must interest; you must fill it. Is
there not a woman in the world whom you can think agreeable?'
"'I know,' said I, 'only one who could comfort me if she chose, but
would she be so generous.'
"'We must see as to that,' replied she, with a smile. 'Am I acquainted
with her? I will endeavour to assist you.'
"'Yes, you know her, and have great influence over her.'
"'Well, what is her name? I will speak to her in your favour; I will say
that you love with ardour and sincerity; that you can be faithful and
constant; that she is sure of being happy in your love.'
"'So you really believe all this?'
"'Yes; I am fully persuaded of it.'
"'Be so good as to say it to yourself.'
"'To myself, my friend?'
"'To yourself.'
"'Ah! then it shall be my pride to comfort you.'"[178]
A connection was thus formed, which, though it did not last very
long--at least the love-affair did not[179]--was not without its
influence upon the professional careers of both. Marmontel tells us that
his passion for the actress had the effect of "rekindling his poetical
ardour"; while, on her side, Mlle. Clairon was induced by the
representations of the young author to adopt a more natural style of
acting, which may be said to have given the finishing touch to an art
which came nearer perfection than anything yet seen on the French stage,
and, moreover, opened the door for a reform the importance of which can
scarcely be over-estimated.
Public-domain text, read in full here on John Shaqi.
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