The audience was too loyal to Bourbonism to accept these sentiments; there were loud murmurs; and _Brutus_ had to be withdrawn. As late as 1766, a play on the subject of William Tell was given to an empty house; no one would go to see a republican hero. But from the sixties matters changed rapidly. Audiences show great enthusiasm over rivalries of art, of actors, of authors, of opinions, and every once in a while applaud or boo a sentiment that touches the sacred foundations of the social and political order. At last an author appears on the scene, keen, witty, unscrupulous, resourceful, to seize on this growing mood of the public and to play on it for his own glory and profit. Beaumarchais, Mirabeau, Dumouriez, Bonaparte, these are the types of the adventurers of the Revolution, and the first only belongs {22} to the period of incubation and also to the domain of letters. Thrown into the war of American independence by his double vocation of secret diplomatic agent and speculator in war supplies, he had espoused the cause of the American people with an enthusiasm that always blazed most brightly when a personal interest was at stake. His enthusiasm for American liberty was easily converted into enthusiasm for the liberty of his own class, and to vindicate that, he put Figaro on the stage. The first public performance of the _Noces de Figaro_, in 1784, was the culmination of a three years' struggle. Louis XVI had declared the play subversive, and the author had raised a storm of protest in its behalf. A special performance was conceded for the Court; and the Parisian public, irritated at being thus excluded, then raised for the first time the cry of tyranny and oppression. When at last the Government in its weakness made the final concession, and permitted a public performance, the demand for seats was greater than had ever previously been known. The theatre was packed. Great lords and ladies sat elbow to elbow with bourgeois and fashionable women; and when Figaro came on and declaimed against social injustice, the opposite parties in {23} the house stormed approval or disfavour. Figaro is Beaumarchais, is the lower or middle class man, with nothing but his wits with which to force his way through the barriers which privilege has erected across every path along which he attempts to advance. As the valet of Count Almaviva he has seen the man of privilege at close quarters and has sounded his rottenness and incapacity. Because you are a grand seigneur, he says, you think yourself a great genius; but, Monsieur le Comte, to what do you really owe your great privileges? To having put yourself to the inconvenience of being born, nothing more. I, with all my ability and force, I who can work for myself, for others, for my country, I am driven away from every occupation.