Yet Frenchmen paid the penalty for setting up a false god. Having agreed to worship public opinion, without asking themselves definitely who were the public, they fell into frequent and fatal errors. The mob often claimed the place on the pedestal of opinion, and its claims were allowed. The turbulent populace of Paris, clamorous now for cheap bread, now for the return of the Parliament from exile, anon for the blood of men and women whom it chose to consider its enemies, was supposed to be the voice of the French nation, which was superstitiously assumed to be the voice of God. The inhabitants of great cities love to be amused. Those of Paris, being quicker witted than most mortals, care much to have something happening. They detest dullness and are fond of wit. In countries where speech and the press are free, a witticism, or a clever book, is seldom a great event. But under Louis XVI., as has been said, you could never quite tell what would come of a paragraph. A minister of state might lose his temper. A writer might have to spend a few weeks in Holland, or even in the Bastille. This was not much to suffer for the sake of notoriety, but it gave the charm of uncertainty. There was just enough danger in saying "strong things" to make them attractive, and to make it popular to say them. With a free press, men whose opinions are either valuable or dangerous get very tired of "strong things," and prefer less spice in their intellectual fare. The most famous satirical piece of the reign is also its most remarkable literary production. The "Mariage de Figaro," of Beaumarchais, has acquired importance apart from its merits as a comedy, both from its political history and from its good fortune in being set to immortal music. The plot is poor and intricate, but the dialogue is uniformly sparkling, and two of the characters will live as typical. In Cherubin we have the dissolute boy whose vice has not yet wrinkled into ugliness, best known to English readers under the name of Don Juan, but fresher and more ingenuous than Byron's young rake. Figaro, the hero of the play, is the comic servant, familiar to the stage from the time of Plautus, impudent, daring, plausible; likely to be overreached, if at all, by his own unscrupulousness. But he is also the adventurer of the last age of the French monarchy, full of liberal ideas and ready to give a decided opinion on anything that concerns society or politics; a Scapin, who has brushed the clothes of Voltaire. He is a shabby, younger brother of Beaumarchais himself, immensely clever and not without kindly feeling, a rascal you can be fond of. "Intrigue and money; you are in your element!" cries Susanne to Figaro, in the first act. "A hundred times I have seen you march on to fortune, but never walk straight," says the Count to him, in the third. We laugh when the blows meant for others smack loud on his cheeks; but we grudge him neither his money nor his pretty wife.